The Raft of the Medusa

1678: 1145:. It received more positive reviews than when it was shown at the Salon. In part, this was due to the manner of the painting's exhibition: in Paris it had initially been hung high in the Salon Carré—a mistake that Géricault recognised when he saw the work installed—but in London it was placed close to the ground, emphasising its monumental impact. There may have been other reasons for its popularity in England as well, including "a degree of national self-congratulation", the appeal of the painting as lurid entertainment, and two theatrical entertainments based around the events on the raft which coincided with the exhibition and borrowed heavily from Géricault's depiction. From the London exhibition Géricault earned close to 20,000 francs, which was his share of the fees charged to visitors, and substantially more than he would have been paid had the French government purchased the work from him. After the London exhibition, Bullock brought the painting to 1157: 57: 1631: 579: 848: 1610: 1712: 614: 1656: 1581: 240: 381: 1287:, Hubert Wellington wrote about Delacroix's opinion of the state of French painting just prior to the Salon of 1819. According to Wellington, "The curious blend of classic with realistic outlook which had been imposed by the discipline of David was now losing both animation and interest. The master himself was nearing his end, and exiled in Belgium. His most docile pupil, Girodet, a refined and cultivated classicist, was producing pictures of astonishing frigidity. Gérard, immensely successful painter of portraits under the Empire—some of them admirable—fell in with the new vogue for large pictures of history, but without enthusiasm." 1041: 1106: 405: 527: 3713: 393: 9282: 6844: 794: 1186:(1793–1849) made a copy of the painting in a smaller size, (130.5 x 196.2 cm; approximately 4 ft × 6 ft), which was shown in Boston, Philadelphia, New York and Washington, D.C. to crowds who knew about the controversy surrounding the shipwreck. Reviews favoured the painting, which also stimulated plays, poems, performances and a children's book. It was bought by a former admiral, Uriah Phillips, who left it in 1862 to the 718: 487: 443: 1353:

austerity. It was a further departure from the religious or classical themes of earlier works because it depicted contemporary events with ordinary and unheroic figures. Both the choice of subject matter and the heightened manner in which the dramatic moment is depicted are typical of Romantic painting—strong indications of the extent to which Géricault had moved from the prevalent Neoclassical movement.

838:, and it served as an important precedent for Géricault's decision to also paint a current event. David's pupil, Antoine-Jean Gros, had, like David, represented "the grandiosities of a school irredeemably associated with a lost cause", but in some major works, he had given equal prominence to Napoleon and anonymous dead or dying figures. Géricault had been particularly impressed by the 1804 painting 603:(1798–1863), who modelled for the figure in the foreground with face turned downward and one arm outstretched. Two of the raft's survivors are seen in shadow at the foot of the mast; three of the figures were painted from life—Corréard, Savigny and Lavillette. Jamar posed nude for the dead youth shown in the foreground about to slip into the sea, and was also the model for two other figures. 575:

and his 18-year-old assistant, Louis-Alexis Jamar, slept in a small room adjacent to the studio; occasionally there were arguments and on one occasion Jamar walked off; after two days Géricault persuaded him to return. In his orderly studio, the artist worked in a methodical fashion in complete silence and found that even the noise of a mouse was sufficient to break his concentration.

1324:(or “Ne suis-je pas ton frere?”) that depicts a Black man begging on one knee for liberation. Scholar Susan Libby highlights how this trope of a helpless, subservient slave became commonplace in European art. Gericault’s choice to place the Black man as the active “hero” deviated from popular ideas about enslaved people. The subject of marine tragedy was undertaken by 1390:. Wellington wrote that "While Géricault carried his interest in actual detail to the point of searching for more survivors from the wreck as models, Delacroix felt his composition more vividly as a whole, thought of his figures and crowds as types, and dominated them by the symbolic figure of Republican Liberty which is one of his finest plastic inventions." 1555:"remains the chief example of romantic pathos expressed through the nude; and that obsession with death, which drove Géricault to frequent mortuary chambers and places of public execution, gives truth to his figures of the dead and the dying. Their outlines may be taken from the classics, but they have been seen again with a craving for violent experience." 471:. Their emotional descriptions of their experiences largely inspired the tone of the final painting. According to the art historian Georges-Antoine Borias, "Géricault established his studio across from Beaujon hospital. And here began a mournful descent. Behind locked doors he threw himself into his work. Nothing repulsed him. He was dreaded and avoided." 429:—the use of violent contrast between light and dark. Even Géricault's treatment of the sea is muted, being rendered in dark greens rather than the deep blues that could have afforded contrast with the tones of the raft and its figures. From the distant area of the rescue ship, a bright light shines, providing illumination to an otherwise dull brown scene. 1677: 731:

model before touching brush to canvas. He seemed to proceed slowly, when in reality he executed very rapidly, placing one touch after the other in its place, rarely having to go over his work more than once. There was very little perceptible movement of his body or arms. His expression was perfectly calm ...

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interviewed two of the survivors and constructed a detailed scale model of the raft. He visited hospitals and morgues where he could view, first-hand, the colour and texture of the flesh of the dying and dead. As he had anticipated, the painting proved highly controversial at its first appearance in the 1819

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living at the apex." Two other diagonal lines are used to heighten the dramatic tension. One follows the mast and its rigging and leads the viewer's eye towards an approaching wave that threatens to engulf the raft, while the second, composed of reaching figures, leads to the distant silhouette of the

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astonished me as much as his intense industry. He painted directly on the white canvas, without rough sketch or any preparation of any sort, except for the firmly traced contours, and yet the solidity of the work was none the worse for it. I was struck by the keen attention with which he examined the

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points out that the painting depicts more figures than had been on the raft at the time of the rescue—including corpses which were not recorded by the rescuers. Instead of the sunny morning and calm water reported on the day of the rescue, Géricault depicted a gathering storm and dark, heaving sea to

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Among the scenes he considered were the mutiny against the officers from the second day on the raft, the cannibalism that occurred after only a few days, and the rescue. Géricault ultimately settled on the moment, recounted by one of the survivors, when they first saw, on the horizon, the approaching

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The viewer's attention is first drawn to the centre of the canvas, then follows the directional flow of the survivors' bodies, viewed from behind and straining to the right. According to the art historian Justin Wintle, "a single horizontal diagonal rhythm us from the dead at the bottom left, to the

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The pictorial composition of the painting is constructed upon two pyramidal structures. The perimeter of the large mast on the left of the canvas forms the first. The horizontal grouping of dead and dying figures in the foreground forms the base from which the survivors emerge, surging upward towards

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by chance—no particular search effort was made by the French for the raft. By this time only 15 men were still alive; the others had been killed or thrown overboard by their comrades, died of starvation, or had thrown themselves into the sea in despair. The incident became a huge public embarrassment

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He drew and painted numerous preparatory sketches while deciding which of several alternative moments of the disaster he would depict in the final work. The painting's conception proved slow and difficult for Géricault, and he struggled to select a single pictorially effective moment to best capture

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Géricault's palette is composed of pallid flesh tones, and the murky colours of the survivors' clothes, the sea and the clouds. Overall the painting is dark and relies largely on the use of sombre, mostly brown pigments, a palette that Géricault believed was effective in suggesting tragedy and pain.

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who lacked experience and ability, but had been granted his commission as a result of an act of political preferment. Efforts to free the ship failed, so, on 5 July, the frightened passengers and crew started an attempt to travel the 100 km (60 mi) to the African coast in the frigate's six

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style. Géricault's compositional structure and depiction of the figures are classical, but the contrasting turbulence of the subject represents a significant change in artistic direction and creates an important bridge between Neoclassical and Romantic styles. By 1815, Jacques-Louis David, then in

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of corpses. To achieve the most authentic rendering of the flesh tones of the dead, he made sketches of bodies in the morgue of the Hospital Beaujon, studied the faces of dying hospital patients, brought severed limbs back to his studio to study their decay, and for a fortnight drew a severed head,

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Remarking on the contrast between the dying figures in the foreground and the figures in the mid-ground waving towards the approaching rescue ship, the French art historian Georges-Antoine Borias wrote that Géricault's painting represents, "on the one hand, desolation and death. On the other, hope

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in the work. The fact that the majority of the figures are almost naked, he wrote, arose from a desire to avoid "unpictorial" costumes. Muther observes that there is "still something academic in the figures, which do not seem to be sufficiently weakened by privation, disease, and the struggle with

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Géricault drew an outline sketch of the composition onto the canvas. He then posed models one at a time, completing each figure before moving onto the next, as opposed to the more usual method of working over the whole composition. The concentration in this way on individual elements gave the work

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Géricault, who had just been forced to break off a painful affair with his aunt, shaved his head and from November 1818 to July 1819 lived a disciplined monastic existence in his studio in the Faubourg du Roule, being brought meals by his concierge and only occasionally spending an evening out. He

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The makeshift raft is shown as barely seaworthy as it rides the deep waves, while the men are rendered as broken and in utter despair. One old man holds the corpse of his son at his knees; another tears his hair out in frustration and defeat. A number of bodies litter the foreground, waiting to be

348:. The captain and crew aboard the other boats intended to tow the raft, but after only a few miles the raft was turned loose. For sustenance the crew of the raft had only a bag of ship's biscuit (consumed on the first day), two casks of water (lost overboard during fighting) and six casks of wine. 1297:

The artist's abolitionist views are said to have been expressed in his decision to prominently feature at least two Black individuals, particularly the dominant figure seen waving a dark red handkerchief. According to scholars Klaus Berger and Diane Chalmers Johnson, Géricault made "him the focal

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contains the gestures and grand scale of traditional history painting; however, it presents ordinary people, rather than heroes, reacting to the unfolding drama. Géricault's raft pointedly lacks a hero, and his painting presents no cause beyond sheer survival. The work represents, in the words of

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The influence of Jacques-Louis David can be seen in the painting's scale, in the sculptural tautness of the figures and in the heightened manner in which a particularly significant "fruitful moment"—the first awareness of the approaching ship—is described. In 1793, David also painted an important

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Géricault was captivated by accounts of the widely publicised 1816 shipwreck, and realised that a depiction of the event might be an opportunity to establish his reputation as a painter. Having decided to proceed, he undertook extensive research before he began the painting. In early 1818, he met

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Hubert Wellington said that while Delacroix was a lifelong admirer of Gros, the dominating enthusiasm of his youth was for Géricault. The dramatic composition of Géricault, with its strong contrasts of tone and unconventional gestures, stimulated Delacroix to trust his own creative impulses on a

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The unblemished musculature of the central figure waving to the rescue ship is reminiscent of the Neoclassical, however the naturalism of light and shadow, the authenticity of the desperation shown by the survivors and the emotional character of the composition differentiate it from Neoclassical

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The painting generally impressed the viewing public, although its subject matter repelled many, thus denying Géricault the popular acclaim which he had hoped to achieve. At the end of the exhibition, the painting was awarded a gold medal by the judging panel, but they did not give the work the

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and with his back turned toward the viewer, Joseph's silhouette is placed atop the pyramidal grouping of survivors in the composition's right half. In addition, a small rendering of Joseph's face, with his gaze directed toward the spectator, is placed within a group of three figures positioned

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Géricault chose this large-scale uncommissioned work to launch his career, using a subject that had already generated widespread public interest. The event fascinated him, and before he began work on the final painting, he undertook extensive research and produced many preparatory sketches. He

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portrays the moment when, after 13 days adrift on the raft, the remaining 15 survivors view a ship approaching from a distance. According to an early British reviewer, the work is set at a moment when "the ruin of the raft may be said to be complete". The painting is on a monumental scale of

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was carrying 400 people, including 160 crew, there was space for only about 250 in the boats. The remainder of the ship's complement and half of a contingent of marine infantrymen intended to garrison Senegal—at least 146 men and one woman—were piled onto a hastily built raft, that partially

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Undertaken by Order of the French Government, Comprising an Account of the Shipwreck of the Medusa, the Sufferings of the Crew, and the Various Occurrences on Board the Raft, in the Desert of Zaara, at St. Louis, and at the Camp of Daccard. To which are Subjoined Observations Respecting the

1794: 714:. Bitumen has a velvety, lustrous appearance when first painted, but over a period of time discolours to a black treacle, while contracting and thus creating a wrinkled surface, which cannot be renovated. As a result of this, details in large areas of the work can hardly be discerned today. 501:

He worked with Corréard, Savigny and another of the survivors, the carpenter Lavillette, to construct an accurately detailed scale model of the raft, which was reproduced on the finished canvas, even showing the gaps between some of the planks. Géricault posed models, compiled a dossier of

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491 cm × 716 cm (193 in × 282 in), so that most of the figures rendered are life-sized and those in the foreground almost twice life-size, pushed close to the picture plane and crowding onto the viewer, who is drawn into the physical action as a participant.

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to paint at least two Black individuals on the raft. Most notably, Joseph served as a model for what is considered to be a representation of Jean Charles, a military officer waving a dark red handkerchief in hopes of being noticed by the passing ship. Influenced by an ancient

1580: 158:(1791–1824). Completed when the artist was 27, the work has become an icon of French Romanticism. At 491 by 716 cm (16 ft 1 in by 23 ft 6 in), it is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval 351:

According to critic Jonathan Miles, the raft carried the survivors "to the frontiers of human experience. Crazed, parched and starved, they slaughtered mutineers, ate their dead companions and killed the weakest." After 13 days, on 17 July 1816, the raft was rescued by the

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from Géricault's painting. The move from the drama of Romanticism to the new Realism is exemplified by the stoic resignation of Homer's figure. The man's condition, which in earlier works might have been characterised by hope or helplessness, has turned to "sullen rage".

2403:'...Il me permit d'aller voir sa Méduse pendant qu'il l'exécutait dans un atelier bizarre qu'il avait près des Ternes. L'impression que j'en reçus fut si vive, qu'en sortant je revins toujours courant et comme un fou jusqu'à la rue de la Planche ou j'habitais alors.' 1075:

Géricault had deliberately sought to be both politically and artistically confrontational. Critics responded to his aggressive approach in kind, and their reactions were either ones of revulsion or praise, depending on whether the writer's sympathies favoured the

1302:" They argue that the artist's choice to do so was not a "last-minute" decision as evidenced by early sketches for the work, including a portrait study of the Haitian model Joseph, and point to Géricault's concerns regarding the "extreme cruelties" of illegal 1025:, a French painter and contemporary of Géricault, provided one answer: "Monsieur Géricault seems mistaken. The goal of painting is to speak to the soul and the eyes, not to repel." The painting had fervent admirers too, including French writer and art critic 389:

swept away by the surrounding waves. The men in the middle have just viewed a rescue ship; one points it out to another, and an African crew member, Jean Charles, stands on an empty barrel and frantically waves his handkerchief to draw the ship's attention.

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Although the men depicted on the raft had spent 13 days adrift and suffered hunger, disease and cannibalism, Géricault pays tribute to the traditions of heroic painting and presents his figures as muscular and healthy. According to the art historian

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to study the sea and sky. Despite suffering from fever, he travelled to the coast on a number of occasions to witness storms breaking on the shore, and a visit to artists in England afforded further opportunity to study the elements while crossing the

1126:, which he clandestinely offered to Delacroix, whose finished painting he then signed as his own. Géricault retreated to the countryside, where he collapsed from exhaustion, and his unsold work was rolled up and stored in a friend's studio. 1519:

with a damaged vessel, ominously surrounded by sharks and threatened by a waterspout. Like Géricault, Homer makes a black man the pivotal figure in the scene, though here he is the vessel's sole occupant. A ship in the distance mirrors the

315:, though this was a routine naval appointment made within the Ministry of the Navy and far outside the concerns of the monarch. The frigate's mission was to accept the British return of Senegal under the terms of France's acceptance of the 1452:. The influence is not only in Courbet's enormous scale, but in his willingness to portray ordinary people and current political events, and to record people, places and events in real, everyday surroundings. The 2004 exhibition at the 924:(1738–1815)—also painted within two years of the event—had established a precedent for a contemporary subject. Copley had also painted several large and heroic depictions of disasters at sea which Géricault may have known from prints: 2061:

The other boats became separated and though most eventually arrived at St Louis Island in Senegal, some put ashore further along the coast and lost some of their party to heat and starvation. Of the 17 men that remained behind on the

523:—visible in the upper right of the painting—which they attempted to signal. The ship, however, passed by. In the words of one of the surviving crew members, "From the delirium of joy, we fell into profound despondency and grief." 169:

on 2 July 1816. On 5 July 1816, at least 147 people were set adrift on a hurriedly constructed raft; all but 15 died in the 13 days before their rescue, and those who survived endured starvation and dehydration and practiced

1339:) chronicled a similar incident, this time a British catastrophe, with a swamped vessel and dying figures also placed in the foreground. Placing a person of color in the centre of the drama was revisited by Turner, with similar 5929: 1141:, London, from 10 June until the end of the year, and viewed by about 40,000 visitors. The reception in London was more positive than that in Paris, and the painting was hailed as representative of a new direction in 1711: 790:(1714–1789) created many such images, achieving naturalistic colour through direct observation—unlike other artists at that time—and was said to have tied himself to the mast of a ship in order to witness a storm. 1178:

who purchased it for the museum from Géricault's heirs after his death in 1824. The painting now dominates its gallery there. The display caption tells us that "the only hero in this poignant story is humanity".

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Christine Riding, "the fallacy of hope and pointless suffering, and at worst, the basic human instinct to survive, which had superseded all moral considerations and plunged civilised man into barbarism".

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To a public well-versed in the particulars of the disaster, the scene would have been understood to encompass the aftermath of the crew's abandonment, focusing on the moment when all hope seemed lost—the

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both a "shocking physicality" and a sense of deliberate theatricality—which some critics consider an adverse effect. Over 30 years after the completion of the work, his friend Montfort recalled:

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Géricault painted with small brushes and viscous oils, which allowed little time for reworking and were dry by the next morning. He kept his colours apart from each other: his palette consisted of

1009:", freely translated as "Monsieur Géricault, your shipwreck is certainly no disaster". The critics were divided: the horror and "terribilità" of the subject exercised fascination, but devotees of 997:

and featured nearly 1,300 paintings, 208 sculptures and numerous other engravings and architectural designs. Géricault's canvas was the star at the exhibition: "It strikes and attracts all eyes" (

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while he was still working on it. It made so tremendous an impression on me that when I came out of the studio I started running like a madman and did not stop till I reached my own room."

1021:, which triumphed the same year. Géricault's work expressed a paradox: how could a hideous subject be translated into a powerful painting, how could the painter reconcile art and reality? 2734: 1206: 330:

overtook the other ships, but due to poor navigation it drifted 160 kilometres (100 mi) off course. On 2 July, it ran aground on a sandbank off the West African coast, near today's

1096:, Géricault's painting acts as a "cynical indictment of the bungling malfeasance of France's post-Napoleonic officialdom, much of which was recruited from the surviving families of the 5235: 186:, attracting passionate praise and condemnation in equal measure. However, it established his international reputation and today is widely seen as seminal in the early history of the 936: 1260:

genre, which he had perfected, and a master of the Neoclassical style. In France, both history painting and the Neoclassical style continued through the work of Antoine-Jean Gros,

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or Liberal viewpoint. The painting was seen as largely sympathetic to the men on the raft, and thus by extension to the anti-imperial cause adopted by the survivors Savigny and

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Riding, Christine. "The Fatal Raft: Christine Riding Looks at British Reaction to the French Tragedy at Sea Immortalised in Gericault's Masterpiece 'The Raft of the Medusa'

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Diagram showing the outline of the two pyramidal structures that form the basis of the work. The position of the Argus rescue vessel is indicated by the yellow dot.

5697: 810:. Géricault said, "Michelangelo sent shivers up my spine, these lost souls destroying each other inevitably conjure up the tragic grandeur of the Sistine Chapel." 903:, which was one of the most sensational aspects of the days on the raft. Géricault seems to allude to this through the borrowing from Fuseli. An early study for 468: 6481: 5513: 5482: 4661: 4330: 4231: 1746: 1310:. Depicting a Black figure as a hero to convey an abolitionist message was uncommon at the time, as the official symbol of the French abolitionist group, the 6554: 5608: 1153:, "The Wreck of the Medusa" by the Marshall brothers firm, which was said to have been painted under the direction of one of the survivors of the disaster. 311:

administration despite having scarcely sailed in 20 years. After the wreck, public outrage mistakenly attributed responsibility for his appointment to

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expressed their distaste for what they described as a "pile of corpses", whose realism they considered a far cry from the "ideal beauty" represented by

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and remained inaccessible until the mistake was uncovered in 2006, after an enquiry by Nina Athanassoglou-Kallmyer, a professor of art history at the

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confronted Rodin on a heroic scale with the innocent nameless victims of political tragedies ... If Rodin was inspired to rival Michelangelo's

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Much later, Delacroix—who would become the standard-bearer of French Romanticism after Géricault's death—wrote, "Géricault allowed me to see his

539: 5627: 5081: 2720: 840: 627:, Getty Center. Joseph served as model for at least two Black individuals in the final version of the artist's representation of Medusa's raft. 56: 9326: 6624: 5684: 4988: 4969: 4674: 6315: 5156: 5538: 5450: 5211: 5174: 3122: 1122:

greater prestige of selecting it for the Louvre's national collection. Instead, Géricault was awarded a commission on the subject of the

178:). The event became an international scandal, in part because its cause was widely attributed to the incompetence of the French captain. 7631: 6067: 1088:

sympathies. The art critic Christine Riding has speculated that the painting's later exhibition in London was planned to coincide with

578: 201:, in both its choice of subject matter and its dramatic presentation, it represents a break from the calm and order of the prevailing 6706: 5960: 3314: 2674: 6751: 6669: 6290: 6161: 6125: 5790: 5488: 5125: 4871: 4822: 1175: 497:. This study is darker than the final work, and the positions of the figures differ significantly from those of the later painting. 1624:, 1807, Louvre. Like Gros, Géricault had seen and felt the exhilaration of violence, and was distraught by the human consequences. 6493: 5217: 3916: 1307: 7802: 5093: 2714: 2110: 1620: 946:(1790s), which has a strikingly similar composition. A further important precedent for the political component was the works of 6099: 4982: 4161: 2962: 878:, where oppressive darkness and the compositional base of a naked, sprawled corpse obviously influenced Géricault's painting. 9227: 6880: 6700: 5665: 5551: 4931: 4418: 3756: 3560: 3519: 3436:

Extremities: Painting Empire in Post-Revolutionary France, (a study of the works of Girodet, Gros, Gericault, and Delacroix).

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Brandt, Anthony. "Swept Away: When Gericault Painted the Raft of the Medusa, He Immersed Himself in His Subject's Horrors".

1328:(1775–1851), who, like many English artists, probably saw Géricault's painting when it was exhibited in London in 1820. His 1029:, who praised its political theme, its liberal position–its advancement of the negro and critique of ultra-royalism–and its 8898: 6916: 6080: 5923: 5304: 4786: 1312: 1269: 1022: 735:

Working with little distraction, the artist completed the painting in eight months; the project as a whole took 18 months.

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Because of deterioration in the condition of Géricault's original, the Louvre in 1859–60 commissioned two French artists,

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s influence on the work of the young Delacroix was immediately apparent in this painting, as well as in later works.

993:), although its real subject would have been unmistakable for contemporary viewers. The exhibition was sponsored by 6379: 5526: 5229: 5138: 4101: 3749: 802: 752: 7700: 6997: 5162: 1149:

early in 1821, but the exhibition there was far less successful, in large part due to a competing exhibition of a

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as an instrumental influence on Realism, the exhibition drew comparisons between all of the artists. The critic

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school. Géricault's work attracted wide attention from its first showing and was then exhibited in London. The

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and Étienne-Antoine-Eugène Ronjat, a full size copy, 1859–60, 493 cm × 717 cm, Musée de Picardie,

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point of the drama, the strongest and most perceptive of the survivors, in a sense, the 'hero of the scene.

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acquired it soon after the artist's death at age 32. The painting's influence can be seen in the works of

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was packed for removal from the Louvre in anticipation of the outbreak of war. A scenery truck from the

1187: 1130: 782:(1771–1835), to contemporary events. By the 18th century, shipwrecks had become a recognised feature of 320: 8973: 7302: 911:, now in the Louvre, is much more explicit, depicting a figure gnawing on the arm of a headless corpse. 8675: 7904: 7416: 6354: 6112: 5273: 4877: 4780: 4774: 4533: 4523: 4498: 4483: 4206: 3827: 2297: 1725: 1596: 1507: 1376: 916: 261: 8983: 7649: 7426: 2652: 2390: 2278: 895:—a subject that Géricault had contemplated painting—and seems to borrow from a painting of Ugolini by 866:, Los Angeles. The darkness and the sprawling naked figure were an influence on Géricault's painting. 9222: 8622: 8573: 6873: 6542: 6487: 4865: 4834: 4281: 3405: 2301:, an unusual still-life which Géricault produced in 1818–1819, shows some of these dismembered limbs. 770: 8903: 8060: 7782: 3871: 3487: 1571: 1540:

by making life-sized sculptures out of wood, paper and tar and placing them on a large wooden raft.

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Earlier travels had exposed Géricault to victims of insanity and plague, and while researching the

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Crary, Jonathan, "Géricault, the Panorama, and Sites of Reality in the Early Nineteenth Century,"

2571: 1495:, a British painter born in Ireland, probably was inspired by Géricault's picture when he painted 9306: 8893: 8750: 8655: 8511: 7940: 7556: 6946: 6611: 6475: 6022: 5891: 5007: 4883: 4792: 4686: 4655: 4508: 4081: 4056: 3811: 3772: 2808: 2682: 1251:

in French painting, and "laid the foundations of an aesthetic revolution" against the prevailing

871: 851: 155: 67: 7766: 7466: 5716: 5198: 1887: 1472:(1832–1883) with artists associated with Romanticism, including Géricault and Delacroix. Citing 9232: 9187: 9182: 8878: 8770: 8670: 8181: 7955: 7894: 7511: 7282: 6681: 6366: 5815: 5803: 5279: 5031: 4950: 4729: 4704: 4649: 4156: 3902: 3795: 3600:

Riding, Christine. "The Raft of the Medusa in Britain". In: Noon, Patrick & Bann, Stephen.

3549:

The Rape of Europa: the Fate of Europe's Treasures in the Third Reich and the Second World War.

3511: 3009: 2546:"Cannibalism, Insanity and Class Warfare: The Tragedy Behind 'The Raft of the Medusa' Painting" 1444: 1224: 1195: 1183: 757: 316: 300: 8557: 8430: 8216: 8140: 8025: 7451: 6258: 5992: 4021: 3119: 3023:

The Rape of Europa: The Fate of Europe's Treasures in the Third Reich and the Second World War

1232: 20: 9237: 9202: 9192: 9126: 8953: 8928: 8888: 8838: 8735: 8588: 8435: 8247: 8104: 8045: 7879: 7874: 7828: 7756: 7695: 7581: 7340: 6987: 6936: 6913: 6579: 6360: 6303: 6137: 5865: 5859: 5056: 5013: 4895: 4840: 4810: 4286: 4276: 4181: 4111: 4051: 4046: 3787: 3438: 2422: 1911: 1824: 1663: 1591: 1529: 1461: 1386: 1129:

Géricault arranged for the painting to be exhibited in London in 1820, where it was shown at

994: 958: 940:(1791), which was an influence on both the style and subject matter of Géricault's work; and 921: 312: 95:

490 cm × 716 cm (16 ft 1 in × 23 ft 6 in)

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Nicholson, Benedict. "The Raft of the Medusa from the Point of View of the Subject-Matter".

1480:

sees Manet directly borrowing the figure of the man cradling his son for the composition of

1081: 464: 9336: 9285: 8858: 8420: 8307: 8232: 7945: 7909: 7611: 7591: 7345: 7032: 6972: 6866: 6180: 5821: 5765: 5759: 5753: 5349: 5223: 5106: 4994: 4692: 4543: 4488: 4136: 4041: 4036: 4031: 4026: 3005: 2780: 1705:, London. Turner probably saw Géricault's painting when it was exhibited in London in 1820. 1667:, 1824, 419 cm × 354 cm, Louvre. This painting springs directly from Géricault's 1265: 1040: 952: 926: 859: 787: 358: 273: 8958: 8775: 8010: 7787: 7644: 7365: 7330: 3972: 1227:

transported the painting to Versailles in the night of 3 September. Some time later, the

8: 9217: 9076: 8780: 8665: 8506: 7889: 7884: 7720: 7461: 7396: 7012: 6167: 5740: 4853: 4816: 4761: 4564: 4428: 4413: 4393: 4348: 4239: 4211: 4196: 4171: 3843: 3579: 2671: 1641: 1586: 1453: 1363: 908: 775: 562: 8868: 8384: 8201: 7741: 7679: 7526: 7355: 5583: 5393: 4717: 1636: 1105: 600: 210: 9273: 8993: 8755: 8745: 8630: 8521: 8415: 8257: 8206: 8119: 8015: 7985: 7975: 7823: 7621: 7310: 7202: 7143: 6921: 6271: 5986: 5710: 5570: 5564: 5405: 5362: 4617: 4569: 4398: 4383: 4373: 4368: 4296: 4126: 3819: 3647:

Agriculture of the Western Coast of Africa, from Cape Blanco to the Mouth of the Gambia

2967: 2523: 2283: 1303: 830: 640: 344:

submerged once it was loaded. Seventeen crew members opted to stay aboard the grounded

287: 277: 8155: 8035: 7232: 1873:(London, 1981), and for the general political climate of the period, see Munro Price, 899:(1741–1825) that Géricault may have known from prints. In Dante, Ugolino is guilty of 404: 9207: 9177: 9141: 9086: 9008: 8938: 8863: 8800: 8705: 8690: 8660: 8501: 8476: 8450: 8389: 8379: 8277: 8272: 8267: 8262: 7930: 7899: 7843: 7838: 7654: 7639: 7561: 7446: 7391: 7315: 7227: 7180: 7083: 7073: 7037: 6903: 6341: 6040: 5062: 5050: 5044: 4889: 4698: 4448: 4291: 4245: 4176: 4116: 4066: 3957: 3736: 3686: 3667: 3656: 3633: 3605: 3583: 3564: 3556: 3537: 3515: 3493: 3472: 3457: 3442: 3424: 3409: 3390: 3375: 3349: 3319: 3299: 3239: 3161: 3087: 3026: 2819: 2786: 2636: 2515: 2479: 2469: 2394: 2384: 2366: 2172: 2107: 1967: 1915: 1828: 1752: 1615: 1411: 900: 882: 835: 779: 175: 171: 148: 8547: 8542: 8425: 7262: 7212: 1465: 534:

detained by the British after the sinking. They were returned to France afterwards.

526: 8813: 8710: 8635: 8552: 8516: 8394: 8369: 8364: 8065: 8055: 8050: 8040: 8030: 8005: 7935: 7858: 7833: 7401: 7350: 7247: 7088: 7078: 7061: 7022: 7017: 6992: 6725: 6573: 6155: 6143: 5846: 5368: 5192: 5150: 4956: 4925: 4503: 4453: 4363: 4358: 4251: 4201: 4061: 3947: 1361:

while he was still working on it." The painting's influence is seen in Delacroix's

1257: 1077: 645: 544: 334:. The collision was widely blamed on the incompetence of De Chaumereys, a returned 198: 8988: 8978: 8196: 7970: 7807: 7471: 7149: 2416: 1469: 1098: 786:, as well as an increasingly common occurrence as more journeys were made by sea. 478:

his effort to be historically accurate and realistic led to an obsession with the

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Bonjour Monsieur Courbet: The Bruyas Collection from the Musee Fabre, Montpellier

1438:(1819–1877) could be described as an anti-Romantic painter, his major works like 1435: 1325: 1317: 1277: 1150: 1057: 886: 650: 508: 401:

the emotional peak, where the central figure waves desperately at a rescue ship.

218: 214: 129: 121: 40: 8593: 7531: 6926: 4748: 1567: 9136: 9106: 9071: 9061: 9043: 8948: 8908: 8843: 8715: 8645: 8486: 8471: 8399: 8343: 8333: 8302: 8282: 8191: 8114: 8094: 8079: 8000: 7960: 7664: 7616: 7546: 7441: 7421: 7360: 7257: 7121: 7047: 6505: 5501: 4538: 4478: 4423: 4408: 4271: 4256: 3967: 3508:

The Wreck of the Medusa: The Most Famous Sea Disaster of the Nineteenth Century

3364: 3236:

Homer, Eakins & Anshutz: The Search for American Identity in the Gilded Age

1345: 1198:. The university's conservation department undertook restoration of the work. 1191: 1061: 1034: 947: 807: 707: 656: 9151: 8720: 7746: 7710: 7521: 3977: 3056: 2782:

The origins of French art criticism: from the Ancien Régime to the Restoration

396:

Detail of the crew member waving his handkerchief to draw the ship's attention

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Trapp, Frank Anderson. "Gericault's 'Raft of the Medusa', by Lorenz Eitner".

1856:

Zarzeczny, Matthew. "Theodore Géricault's 'The Raft of the Méduse' Part II".

1717: 1600: 1548: 1512: 1492: 1477: 1406: 1252: 1134: 1110: 982: 890: 695: 667: 202: 183: 8338: 2483: 1843:

Zarzeczny, Matthew. "Theodore Géricault's 'The Raft of the Méduse' Part I".

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Crossing the Channel: British and French Painting in the Age of Romanticism

3576:

Crossing the Channel: British and French Painting in the Age of Romanticism

3060: 2898: 2167: 1394: 1340: 1123: 1093: 1085: 1001:). Louis XVIII visited three days before the opening and reportedly said: " 896: 874:(1758–1823), whose "thunderously tragic pictures" include his masterpiece, 863: 797: 761: 687: 632: 479: 362: 144: 85: 8481: 3568: 1869:

For Louis XVIII's real political actions and appointments, see P. Mansel,

9131: 8998: 8848: 8445: 8348: 8292: 8099: 7965: 7669: 7601: 7335: 7196: 7155: 7104: 6977: 6889: 6245: 6149: 5930:

Madonna and Child with St John the Baptist and St Catherine of Alexandria

4338: 4121: 3952: 3877: 2463: 1248: 1026: 717: 699: 384:

Detail from the lower left corner of the canvas showing two dying figures

335: 187: 152: 3129:". Minneapolis Institute of the Arts, 2003. Retrieved on 1 January 2009. 2527: 2503: 1367:(1822) and reappears as inspiration in Delacroix's later works, such as 392: 8252: 7571: 7551: 7541: 7190: 7027: 4438: 1142: 1138: 1114: 1069: 1010: 1005:

Monsieur, vous venez de faire un naufrage qui n'en est pas un pour vous

930:(1778), in which a black man is central to the action, and which, like 834:. His painting had an enormous political impact during the time of the 820: 783: 747: 535: 502:

documentation, copied relevant paintings by other artists, and went to

422: 331: 166: 793: 8913: 8242: 8124: 7456: 7175: 6593:

Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil

6537:

Ixion, King of the Lapiths, Deceived by Juno, Who He Wished to Seduce

5722: 5337:

Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil

3741: 2010: 1065: 1030: 703: 683: 675: 671: 663: 426: 6054:

Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola

2982:

New Discoveries: An American Copy of Géricault's Raft of the Medusa?

2856:". Terra Foundation for American Art. Retrieved on 24 January 2008. 2748:. Musée du Louvre département des Arts graphiques, RF 53032, recto. 962:. Goya also produced a painting of a disaster at sea, called simply 934:, concentrated on the actors of the drama rather than the seascape; 299:. Viscount Hugues Duroy de Chaumereys, a recently returned royalist 9053: 3084:

Blacks and Blackness in European Art of the Long Nineteenth Century

2279:

The Victorian Visitors: Culture Shock in Nineteenth-Century Britain

1503:

was "the finest and grandest historical picture I have ever seen".

503: 493:, crayon, ink wash, and gouache on paper, 28 cm × 38 cm, 293: 3489:

Wreck of the Medusa: Mutiny, Murder, and Survival on the High Seas

2066:

only 3 were still alive when rescued by the British 42 days later.

8725: 7476: 7067: 4131: 2749: 1536:, a collaborative project with painter Eugene Newmann, recreated 1256:

exile in Brussels, was both the leading proponent of the popular

1216:, to make a full size copy of the original for loan exhibitions. 1014: 937:

The Defeat of the Floating Batteries at Gibraltar, September 1782

765: 711: 691: 486: 442: 269: 252: 3894: 1037:

approved: "our whole society is aboard the raft of the Medusa".

7170: 6310:

Crucifixion with the Virgin Mary, St John and St Mary Magdalene

3925: 2468:(5th ed.). Los Angeles: J. Paul Getty Museum. p. 86. 1888:

La vie diverse et volontaire du colonel Julien, Désiré Schmaltz

1798: 1559: 1235:

where it remained until after the end of the Second World War.

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for the French monarchy, only recently restored to power after

206: 103: 6858: 5324:

Project for the Transformation of the Grande Galerie du Louvre

3367:

Collection of Films on Art. Directed by Touboul, Adrien, 1968.

2504:"Art as Confrontation: The Black Man in the Work of Gericault" 1109:

In 1820, Géricault successfully exhibited the painting in the

483:

borrowed from a lunatic asylum and stored on his studio roof.

5262:

Camillus Handing the Falerian Schoolmaster over to his Pupils

1357:

large work. Delacroix said, "Géricault allowed me to see his

881:

The foreground figure of the older man may be a reference to

636: 455: 107: 5508:

Venus and the Three Graces Presenting Gifts to a Young Woman

7126: 2980:

Athanassoglou-Kallmyer, Nina & De Filippis, Marybeth. "

1702: 558:

reappeared two hours later and rescued those who remained.

284: 1374:

According to Wellington, Delacroix's masterpiece of 1830,

19:

This article is about the painting. For the oratorio, see

2418:

Oeuvres littéraires. II. Essais sur les artistes célèbres

2318: 2316: 1908:

Extremities: Painting Empire in Post-Revolutionary France

1821:

Extremities: Painting Empire in Post-Revolutionary France

3421:

Manet's Modernism: Or, the Face of Painting in the 1860s

3469:

Wreck of the Medusa: The Tragic Story of the Death Raft

659:

and the supporting rope on the mast's right-hand side.

323:, and his wife and daughter were among the passengers. 6482:

Pendant portraits of Marten Soolmans and Oopjen Coppit

5514:

A Young Man Being Introduced to the Seven Liberal Arts

5483:

Madonna and Child with Saint Peter and Saint Sebastian

3086:. Burlington, VT: Ashgate Publishing. pp. 23–25. 2847:

Morse's Gallery of the Louvre: A Transatlantic Mission

2313: 1858:

Member's Bulletin of The Napoleonic Society of America

1845:

Member's Bulletin of The Napoleonic Society of America

970:. It is unlikely that Géricault had seen the picture. 6555:

The Virgin and Child Surrounded by the Holy Innocents

5698:

The Doge on the Bucintoro near the Riva di Sant'Elena

2923:

Riding, Christine. "Staging The Raft of the Medusa".

1243:

In its insistence on portraying an unpleasant truth,

1046:

Raft of the Medusa shown in Salon Carré of the Louvre

6821:

Christopher Columbus Before the Council of Salamanca

5088:

Equestrian Portrait of Joachim Murat, King of Naples

4097:

Land grant to Marduk-apla-iddina I by Meli-Shipak II

2465:

Masterpieces of Painting in the J. Paul Getty Museum

2343: 2032:

Four or five of the survivors died later aboard the

1405:

provided the inspiration for the grandiose sweep of

599:

He used friends as models, most notably the painter

425:", after the Italian artist closely associated with 319:. The appointed French governor of Senegal, Colonel 3643:Savigny, Jean Baptiste Henri; Corréard, Alexandre. 1182:At some time between 1826 and 1830 American artist 437: 5785:Holy Family with the Family of St John the Baptist 4799:The Lictors Bring to Brutus the Bodies of His Sons 4681:The Attributes of Music, the Arts and the Sciences 3655: 2807: 870:The young Géricault had painted copies of work by 463:with two survivors: Henri Savigny, a surgeon, and 450:, pen and brown ink, 17.6 cm × 24.5 cm, 417:, the ship that eventually rescued the survivors. 2902:, 11 February 2003. Retrieved on 13 January 2008. 1775:. Lawrence: University of Kansas Press, 1955. 78. 1671:and was painted in 1824, the year Géricault died. 914:Several English and American paintings including 9298: 5866:Saints Bernardino of Siena and Louis of Toulouse 4514:Statue of the Tiber river with Romulus and Remus 3387:19th Century European Painting: David to Cézanne 3296:The Raft of the Medusa: Géricault, Art, and Race 3012:, 14 November 2006. Retrieved on 6 January 2008. 2963:Art Review; Oui, Art Tips from Perfidious Albion 2746:Scène de cannibalisme sur le radeau de la Méduse 2363:19th Century European Painting: David to Cézanne 2273: 2271: 2269: 2267: 2265: 2123:, 21 February 2003. Retrieved on 6 January 2008. 620:, oil on canvas painting by Théodore Géricault, 276:. She headed a convoy of three other ships: the 6797:Street Scene near the El Ghouri Mosque in Cairo 6784:Francis I, Charles V and the Duchess of Étampes 5936:Madonna and Child with St Rose and St Catherine 3287: 2971:, 10 October 2003. Retrieved on 8 January 2009. 2814:(Paperback ed.). London: Picador. p. 2502:Berger, Klaus; Johnson, Diane Chalmers (1969). 2436: 2434: 2432: 2263: 2261: 2259: 2257: 2255: 2253: 2251: 2249: 2247: 2245: 2014:, 24 March 2007. Retrieved on 20 November 2008. 5082:Bonaparte Visiting the Plague Victims of Jaffa 3595:Painting and Sculpture in Europe, 1780 to 1880 3423:. Chicago: University of Chicago Press, 1998. 3221:Dorment, Richard. "Painting the Unpaintable". 2721:Bonaparte Visiting the Plague Victims of Jaffa 1875:The Perilous Crown: France between Revolutions 841:Bonaparte Visiting the Plague-Victims of Jaffa 6874: 4989:Coresus Sacrificing Himself to Save Callirhoe 4970:Study (Young Male Nude Seated Beside the Sea) 4675:The Attributes of Civilian and Military Music 3910: 3757: 3456:. Vol. 1. Taschen, 2007 (25th ed.). 374–377. 3082:Libby, Susan H.; Childs, Adrienne L. (2014). 2501: 2408: 2376: 2186: 2184: 2182: 1174:was championed by the curator of the Louvre, 165:, which ran aground off the coast of today's 6464:The Archangel Raphael Leaving Tobias' Family 5157:Joan of Arc at the Coronation of Charles VII 5145:Don Pedro of Toledo Kissing Henry IV's Sword 4662:Vulcan Presenting Venus with Arms for Aeneas 3658:The Journal of Eugène Delacroix: A Selection 3342:Art in an Age of Counterrevolution 1815–1848 2760: 2758: 2429: 2242: 2149: 2147: 2078: 2076: 2074: 2072: 1603:style, from which Géricault sought to break. 1238: 1003: 956:series of 1810–12, and his 1814 masterpiece 469:École nationale supérieure d'arts et métiers 45: 5539:Portrait of Alof de Wignacourt and his Page 5175:Portrait of Madame Marcotte de Sainte-Marie 3534:Eugène Delacroix: The Prince of Romanticism 3333:Berger, Klaus & Gaericault, Thaeodore. 3081: 2661:, 8 January 2007. Retrieved 7 January 2008. 2569: 2287:, 3 June 2001. Retrieved on 4 January 2008. 2090: 2088: 1515:(1836–1910), replicates the composition of 973: 876:Justice and Divine Vengeance Pursuing Crime 856:Justice and Divine Vengeance Pursuing Crime 421:The work's lighting has been described as " 6881: 6867: 3917: 3903: 3764: 3750: 3653: 3217: 3215: 2910: 2908: 2596: 2594: 2592: 2440: 2179: 1961: 1528:In the early 1990s, the American sculptor 9332:Paintings in the Louvre by French artists 5961:Portrait of Sigismondo Pandolfo Malatesta 3337:. New York: H. Bittner and Company, 1946. 2810:A history of the world in 10 1/2 chapters 2755: 2635:. Princeton University Press, 1990. 269. 2414: 2163: 2161: 2159: 2144: 2102: 2100: 2069: 2044: 2042: 1935: 1933: 1931: 1929: 1927: 1751:. New York: Vintage International Books. 1748:A History of the World in 10 1/2 Chapters 721:The main 16 colours used for the painting 247:s raft at the moment of its crew's rescue 6752:Displaying the Body of Saint Bonaventure 6670:Christ on the Cross Adored by Two Donors 6291:Portrait of the Artist Holding a Thistle 5628:Allegory of Isabella d'Este's Coronation 5126:Normandy Thatched Cottage, Old Trouville 4872:Entry of the Crusaders in Constantinople 4823:Portrait of Madame Marie-Louise Trudaine 3066: 2957: 2955: 2627: 2625: 2572:"Théodore Géricault, Raft of the Medusa" 2198: 2196: 2176:, Volume 22, Issue 4, December 2003. 37 2085: 1902: 1900: 1789: 1787: 1785: 1783: 1781: 1155: 1104: 1039: 846: 792: 716: 612: 577: 525: 485: 441: 403: 391: 379: 238: 5860:Saints Bonaventure and Anthony of Padua 5218:The Card Sharp with the Ace of Diamonds 4624:Gabrielle d'Estrées et une de ses sœurs 3452:Hagen, Rose-Marie & Hagen, Rainer. 3212: 2998: 2927:. Volume 5, Issue 2, Winter 2004. 1–26. 2905: 2785:. Oxford: Clarendon Press. p. 76. 2778: 2771: 2589: 2386:Eugène Delacroix, sa vie et ses oeuvres 2226: 2224: 2222: 2212: 2210: 2208: 1946: 1316:, was an emblem, originally created by 9299: 6707:Still Life of a Lamb's Head and Flanks 4162:Quintus Marcius trilingual inscription 3771: 3604:. London: Tate Publishing, June 2003. 3315:A History of the World in 10½ Chapters 3105: 3103: 3042: 3040: 3038: 2805: 2799: 2539: 2537: 2336: 2334: 2332: 2330: 2328: 2156: 2097: 2039: 1995:Savigny & Corréard, 59–60, 76, 105 1924: 1744: 1724:, 1899, 71.5 cm × 124.8 cm, 1092:. According to art critic and curator 197:retains elements of the traditions of 9228:Romanticism and the French Revolution 6862: 6701:Portrait of the Marquise de la Solana 5236:Saint Sebastian Tended by Saint Irene 4932:A Young Tiger Playing with Its Mother 4590: 3999: 3936: 3898: 3745: 3527:The History of Modern Painting Vol. 1 3482: 3335:Gericault: Drawings & Watercolors 2952: 2622: 2497: 2495: 2493: 2461: 2382: 2349: 2193: 1897: 1778: 1595:1787, 129.5 cm × 196.2 cm, 1460:, sought to compare the 19th-century 491:Cannibalism on the Raft of the Medusa 128: 5924:The Battle Between Love and Chastity 5766:Saint Francis Receiving the Stigmata 5735:The Virgin and Child with Saint Anne 5685:Saint Francis Receiving the Stigmata 5502:Three Scenes from the Life of Esther 5094:Napoléon on the Battlefield of Eylau 4787:The Intervention of the Sabine Women 3683:Makers of Nineteenth Century Culture 3057:Jacques-Louis David: Empire to Exile 2715:Napoleon on the battlefield of Eylau 2219: 2205: 1943:, Volume 58 No 1, March 1976. 134–37 1621:Napoleon on the battlefield of Eylau 1431:in front of him for encouragement." 1380:, springs directly from Géricault's 1270:Anne-Louis Girodet de Roussy-Trioson 1023:Marie-Philippe Coupin de la Couperie 326:In an effort to make good time, the 5292:Landscape with Orpheus and Eurydice 4267:Cosmetic Spoon: Young Girl Swimming 3574:Noon, Patrick & Bann, Stephen. 3361:Géricault: The Raft of the 'Medusa' 3160:. Yale University Press, 2001. 21. 3100: 3035: 3006:The case of the missing masterpiece 2877: 2727: 2672:Claude Joseph Vernet: The Shipwreck 2570:Black McCoy, Claire (27 May 2021). 2563: 2543: 2534: 2325: 1491:was felt by artists beyond France. 1190:, where it was miscatalogued as by 858:, 1808, 244 cm × 294 cm, 13: 6695:Portrait of Ferdinand Guillemardet 6676:Portrait of Antonio de Covarrubias 6011:Portrait of Baldassare Castiglione 5905:Mystic Marriage of Saint Catherine 5760:The Healing of Justinian the Canon 5609:Mystic Marriage of Saint Catherine 3402:The Gates of Hell by Auguste Rodin 2733:Noon, 84. Riding (June 2003), 73. 2490: 2401:– via the Internet Archive. 1966:. Charles-Lavauzelle. p. 30. 819:, there is still a strong debt to 448:Study for "The Raft of the Medusa" 14: 9348: 6451:The Vegetable Market in Amsterdam 6316:Madonna and Child with Two Donors 4902:The Murder of the Bishop of Liège 3924: 3698: 3676:– via the Internet Archive. 3654:Wellington, Hubert, ed. (1980) . 3597:. Baltimore: Penguin Books, 1960. 3330:, is an analysis of the painting. 3318:. London: Jonathan Cape, 1989. 2421:. Paris: G. Crès et cie. p. 2365:, 191–192, Westview Press, 2002. 1701:, 171.5 cm × 220.5 cm, 515:the inherent drama of the event. 9281: 9280: 6843: 6842: 6380:Portrait of Erasmus of Rotterdam 6159:(also attributed to Giorgione); 5243:Philippe de Champaigne 5230:Magdalene with the Smoking Flame 4102:Land grant to Munnabittu kudurru 3711: 3471:. London: Souvenir Press, 1975. 3372:Géricault's 'Raft of the Medusa' 1894:. Vol. 40, No. 139, pp. 265–312. 1801:. Retrieved on 19 November 2008. 1710: 1676: 1654: 1629: 1608: 1579: 1499:in 1824, and wrote in 1829 that 774:, to the monumental approach of 438:Research and preparatory studies 55: 9327:Paintings by Théodore Géricault 6888: 6519:Helena Fourment with a Carriage 6399:Card Players in a Rich Interior 6068:The Incredulity of Saint Thomas 6029:Saint Michael Vanquishing Satan 5955:Piero della Francesca 5305:Pietà of Villeneuve-lès-Avignon 5026:The Woman with a Gambling Mania 4000: 3836:The Woman with a Gambling Mania 3275: 3266: 3257: 3248: 3238:. Penn State Press, 2004. 102. 3228: 3203: 3194: 3170: 3150: 3141: 3132: 3112: 3075: 3049: 3015: 2974: 2939: 2930: 2917: 2886: 2868: 2859: 2839: 2739: 2706: 2703:Brown & Blaney; in Noon, 49 2697: 2688: 2664: 2645: 2633:The Nude: A Study in Ideal Form 2613: 2455: 2446: 2355: 2304: 2290: 2233: 2135: 2126: 2055: 2026: 2017: 1998: 1989: 1980: 1964:Les Troupes de Marine 1622–1984 1955: 1511:(1899), by the American artist 1322:“Am I Not a Man and a Brother?” 1285:The Journal of Eugène Delacroix 1247:was a landmark in the emerging 746:fuses many influences from the 566:reinforce the emotional gloom. 6425:The Money Changer and His Wife 5445:Antonello da Messina 5212:The Adoration of the Shepherds 5076:Bonaparte at the Pont d'Arcole 4464:Hercules and the lion of Nemea 2777:Reported by Gérard, cited in: 2735:Print after the Fuseli Ugolino 1880: 1863: 1850: 1837: 1813: 1804: 1765: 1738: 368: 16:Painting by Théodore Géricault 1: 9251:Wanderer above the Sea of Fog 6525:Helena Fourment with Children 6278:Triptych of the Sedano family 5318:Principal Monuments of France 5163:Mademoiselle Caroline Rivière 4591: 4344:Altar of Domitius Ahenobarbus 4262:Bronze Sphinx of Thutmose III 3632:. New York: Dodd Mead, 1979. 3191:. Retrieved 29 December 2008. 3063:. Retrieved 31 December 2008. 2544:Bar, Roni (6 February 2017). 1892:Revue d'histoire des colonies 1695: 1415:. He wrote that "Delacroix's 1333: 1262:Jean Auguste Dominique Ingres 1207:Étienne-Antoine-Eugène Ronjat 738: 621: 585: 569: 228: 25:Le Radeau de la Méduse (film) 6438:Diptych of an elderly couple 6386:Portrait of Nicolaus Kratzer 6005:Madonna with the Blue Diadem 5615:Venus and Cupid with a Satyr 4805:The Loves of Paris and Helen 4549:Winged Victory of Samothrace 4519:The Exaltation of the Flower 4072:Sarcophagus of Eshmunazar II 3937: 3590:. (See also "Riding" below.) 3288:General and cited references 3223:The New York Review of Books 2462:Allen, Denise Maria (2003). 2170:. "Romanticism at the Met". 2120:Times Educational Supplement 1962:Lavauzelle, Charles (1986). 1732: 1570:adorns Géricault's grave in 1482:Angels at the Tomb of Christ 1090:anti-slavery agitation there 1044:Nicolas Sebastien Maillot's 981:was first shown at the 1819 432: 235:French frigate Méduse (1810) 7: 6568:Dune Landscape near Haarlem 6494:Saint Matthew and the Angel 6329:Madonna of Chancellor Rolin 6035:Self-Portrait with a Friend 5647:An Old Man and his Grandson 5382:The Embarkation for Cythera 5286:The Inspiration of the Poet 5181:Portrait of Monsieur Bertin 4945:Bonaparte Crossing the Alps 4914:Portrait of Frédéric Chopin 4908:Orphan Girl at the Cemetery 4829:Portrait of Madame Récamier 4469:Judgement of Paris (mosaic) 4434:Dinos of the Gorgon Painter 3685:. London: Routledge, 2001. 3630:Tales of Terror and Tragedy 3374:. New York: Phaidon, 1972. 3346:University of Chicago Press 2995:. Retrieved 9 January 2008. 2993:New York Historical Society 2949:No. 9 (Autumn 2002), 16–17. 2685:. Retrieved 7 January 2008. 2389:. Paris: J. Claye. p. 1692:The Wreck of the Amphitrite 1497:Sunset at Sea after a Storm 1219:In the autumn of 1939, the 1188:New York Historical Society 1056:hanging alongside works by 591:, 38 cm × 46 cm, 549:, after Théodore Géricault. 130:[ləʁadod(ə)lamedyz] 10: 9353: 9168:Coleridge's theory of life 6355:Catharina Both-van der Eem 6081:Portrait of a Clad Warrior 5987:Angel Holding a Phylactery 5666:Adoration of the Shepherds 4983:Adoration of the Shepherds 4878:Liberty Leading the People 4781:The Coronation of Napoleon 4775:Andromache Mourning Hector 4637:Artists in Isabey's Studio 4499:Sarcophagus of the Spouses 4484:Marcellus as Hermes Logios 4207:Victory Stele of Naram-Sin 4142:Nazimaruttaš kudurru stone 3885:(foremost expert on works) 3828:Portrait of a Kleptomaniac 3547:Nicholas, Lynn H. (1994). 3529:. London: J.M. Dent, 1907. 2768:, XCVI, August 1954. 241–8 2415:Delacroix, Eugène (1923). 2383:Piron, E. A., ed. (1865). 1726:Metropolitan Museum of Art 1597:Metropolitan Museum of Art 1377:Liberty Leading the People 1313:Société des amis des Noirs 917:The Death of Major Pierson 262:Hugues Duroy de Chaumareys 232: 18: 9260: 9223:Romanticism and economics 9160: 9052: 8799: 8621: 8566: 8535: 8459: 8408: 8357: 8316: 8225: 8169: 8133: 8087: 8078: 7923: 7867: 7816: 7775: 7734: 7688: 7630: 7500: 7379: 7301: 7238:Manuel Antônio de Almeida 7220: 7211: 7097: 6965: 6896: 6838: 6806: 6767: 6653: 6644:Perseus Freeing Andromeda 6488:Philosopher in Meditation 6216: 6162:Saint Jerome in Penitence 6100:Birth of John the Baptist 5847:The Carrying of the Cross 5791:Saint Jerome in Penitence 5779:Christ Carrying the Cross 5552:The Sermon of St. Stephen 5421: 4866:The Death of Sardanapalus 4835:Portrait of Pope Pius VII 4601: 4597: 4586: 4557: 4320: 4282:Khonsuemheb and the Ghost 4230: 4010: 4006: 3995: 3943: 3932: 3858: 3779: 3710: 3705: 3650:. London: Cockburn, 1818. 3434:Grigsby, Darcy Grimaldo. 3406:Stanford University Press 3359:Borias, Georges-Antoine. 3183:30 September 2011 at the 2925:Visual Culture in Britain 2914:Riding (June 2003), 68–73 2779:Wrigley, Richard (1995). 2340:Riding (June 2003), 75–77 2006:Death and the masterpiece 1906:Grigsby, Darcy Grimaldo. 1819:Grigsby, Darcy Grimaldo. 1369:The Shipwreck of Don Juan 1239:Interpretation and legacy 251:In June 1816, the French 147:of 1818–19 by the French 99: 91: 81: 73: 63: 54: 39: 34: 9312:Incidents of cannibalism 7003:German historical school 6619:van der Weyden 6194:The Battle of San Romano 6132:The Entombment of Christ 6126:The Crowning with Thorns 5999:Holy Family of Francis I 5948:Young Saint with a Sword 5438:Coronation of the Virgin 5120:The Flood of Saint-Cloud 4087:Investiture of Zimri-Lim 3664:Cornell University Press 3454:What Great Paintings Say 3389:. Westview Press, 2002. 2508:The Massachusetts Review 1599:. David represented the 1409:'s monumental sculpture 974:Exhibition and reception 618:Portrait Study of Joseph 7650:Józef Ignacy Kraszewski 6720:The Birth of the Virgin 6476:Landscape with a Castle 5489:Portrait of a Young Man 5139:The Apotheosis of Homer 5008:The 1821 Derby at Epsom 4884:Lion Devouring a Rabbit 4793:Leonidas at Thermopylae 4687:Boy with a Spinning-Top 4509:Sleeping Hermaphroditus 4082:Hurrian foundation pegs 4057:Bushel with ibex motifs 3812:The 1821 Derby at Epsom 3492:. Skyhorse Publishing. 3025:. Vintage, 1994. 55–56 2806:Barnes, Julian (1989). 2683:National Gallery of Art 1745:Barnes, Julian (2011). 1647:The Raft of the Medusa' 1468:(1808–1879), and early 1283:In his introduction to 1203:Pierre-Désiré Guillemet 1162:Pierre-Désiré Guillemet 467:, an engineer from the 9233:Romanticism in science 9188:Middle Ages in history 9183:List of Romantic poets 7895:Josiah Gilbert Holland 6543:Marie de' Medici cycle 5974:Portrait of a Princess 5834:Triumph of the Virtues 5816:Madonna della Vittoria 5729:Saint John the Baptist 5672:Marriage of the Virgin 5280:The Funeral of Phocion 5187:Roger Freeing Angelica 5169:Oedipus and the Sphinx 5032:The Wounded Cuirassier 5020:The Raft of the Medusa 4951:The Children of Edward 4730:The Toilette of Esther 4650:The Brunette Odalisque 4157:Phoenician metal bowls 3872:Pierre-Narcisse Guérin 3804:The Raft of the Medusa 3796:The Wounded Cuirassier 3512:Atlantic Monthly Press 3189:Maverick Arts Magazine 3109:Riding (June 2003), 89 3010:University of Delaware 2894:A beautiful friendship 2883:Riding (June 2003), 72 2865:Riding (June 2003), 71 2322:Hagen & Hagen, 376 2277:Christiansen, Rupert. 2132:Hagen & Hagen, 378 2082:Riding (February 2003) 1886:Jore, Léonce (1953). " 1795:The Raft of the Medusa 1773:Géricault and His Work 1669:The Raft of the Medusa 1572:Père Lachaise Cemetery 1564:The Raft of the Medusa 1553:The Raft of the Medusa 1538:The Raft of the Medusa 1517:The Raft of the Medusa 1501:The Raft of the Medusa 1489:The Raft of the Medusa 1474:The Raft of the Medusa 1450:The Raft of the Medusa 1399:The Raft of the Medusa 1382:The Raft of the Medusa 1291:The Raft of the Medusa 1274:Pierre-Narcisse Guérin 1245:The Raft of the Medusa 1196:University of Delaware 1172:The Raft of the Medusa 1168: 1118: 1072: 1004: 979:The Raft of the Medusa 968:The Raft of the Medusa 932:The Raft of the Medusa 905:The Raft of the Medusa 867: 811: 758:Sistine Chapel ceiling 744:The Raft of the Medusa 733: 722: 631:Géricault, who was an 628: 596: 550: 498: 459: 409: 397: 385: 374:The Raft of the Medusa 321:Julien-Désiré Schmaltz 309:newly restored Bourbon 307:of the frigate by the 248: 195:The Raft of the Medusa 133:) – originally titled 126:Le Radeau de la Méduse 125: 117:The Raft of the Medusa 47:Le Radeau de la Méduse 46: 35:The Raft of the Medusa 9322:Paintings about death 9203:Romantic epistemology 9193:Opium and Romanticism 7762:Stojadinović-Srpkinja 6988:Counter-Enlightenment 6625:Annunciation Triptych 6580:Storm Off a Sea Coast 6470:Bathsheba at Her Bath 6304:Charles I at the Hunt 6138:Madonna of the Rabbit 6094:Adoration of the Magi 5014:The Charging Chasseur 4896:The Massacre at Chios 4811:Minerva Fighting Mars 4287:Raherka and Meresankh 4277:Great Sphinx of Tanis 4182:Stele of the Vultures 4052:Baal with Thunderbolt 4047:Assyrian lion weights 3963:Pavillon de l'Horloge 3788:The Charging Chasseur 3439:Yale University Press 2987:15 March 2009 at the 2852:30 March 2012 at the 2653:"More fear of flying" 2113:16 March 2009 at the 1912:Yale University Press 1825:Yale University Press 1592:The Death of Socrates 1448:(1855) owe a debt to 1427:, he had Géricault's 1159: 1124:Sacred Heart of Jesus 1108: 1043: 1019:Pygmalion and Galatea 959:The Third of May 1808 922:John Singleton Copley 850: 796: 728: 720: 616: 581: 529: 489: 445: 407: 395: 383: 303:, had been appointed 242: 9267:Age of Enlightenment 6909:England (literature) 6531:Hercules and Omphale 6412:The Four Evangelists 5810:Judgement of Solomon 5754:Barbadori Altarpiece 5717:La belle ferronnière 5451:Christ at the Column 5350:A Mediterranean Port 5224:Joseph the Carpenter 5199:The Valpinçon Bather 5107:Jeune fille en buste 4544:Winged Lion of Vulci 4489:Nazareth Inscription 4137:Nazareth Inscription 4042:Amarna letter EA 367 4037:Amarna letter EA 365 4032:Amarna letter EA 364 4027:Amarna letter EA 362 3254:ARTnews, Summer 1993 3234:Griffin, Randall C. 3225:. 27 September 1990. 3178:Courbet at the Clark 3176:Giuliano, Charles. " 3125:6 March 2016 at the 3120:Crossing the Channel 2677:3 March 2016 at the 2425:– via Gallica. 1384:and Delacroix's own 1160:Copy of the work by 1052:, shows Géricault's 953:The Disasters of War 943:Scene of a Shipwreck 927:Watson and the Shark 872:Pierre-Paul Prud'hon 860:J. Paul Getty Museum 852:Pierre-Paul Prud'hon 836:revolution in France 788:Claude Joseph Vernet 452:Musee des Beaux-Arts 339:boats. Although the 190:in French painting. 23:. For the film, see 9218:Romantic psychology 7013:Hudson River School 6957:Sweden (literature) 6942:Russia (literature) 6259:Lamentation (Pietà) 6207:The Wedding at Cana 6168:Woman with a Mirror 5993:La belle jardinière 5741:Virgin of the Rocks 5527:Death of the Virgin 5400:Jupiter and Antiope 4860:The Bride of Abydos 4854:The Barque of Dante 4817:Oath of the Horatii 4762:The Bridge at Narni 4565:Harbaville Triptych 4429:Diana of Versailles 4414:Boscoreale Treasure 4394:Borghese Collection 4349:Antinous Mondragone 4240:Gebel el-Arak Knife 4212:Worshipper of Larsa 4197:Tiara of Saitaferne 4172:Statue of Iddi-Ilum 4112:Manishtushu Obelisk 3844:The Melancholic Man 3628:Rowe Snow, Edward. 3158:Farewell to an Idea 2766:Burlington Magazine 1642:The Barque of Dante 1587:Jacques-Louis David 1454:Clark Art Institute 1445:The Artist's Studio 1364:The Barque of Dante 1233:Château de Chambord 999:Le Journal de Paris 950:, particularly his 828:current event with 776:Jacques-Louis David 655:between the wooden 563:Rupert Christiansen 21:Das Floß der Medusa 9317:Maritime paintings 7203:White Mountain art 7144:Historical fiction 6952:Spain (literature) 6272:Cervara Altarpiece 5918:Apollo and Daphnis 5603:Allegory of Virtue 5533:The Fortune Teller 5363:Allegory of Wealth 5057:The Father's Curse 4618:Diana the Huntress 4570:Lampsacus Treasure 4399:Borghese Gladiator 4384:Athena of Velletri 4374:Apollo Sauroctonos 4369:Apollo of Piombino 4312:Statue of Karomama 4297:Tomb of Akhethetep 4127:Namara inscription 4022:ʿAin Ghazal statue 3820:Monomaniac of Envy 3773:Théodore Géricault 3719:Raft of the Medusa 3506:Miles, Jonathan. 3467:McKee, Alexander. 3294:Alhadeff, Albert. 3021:Nicholas, Lynn H. 2968:The New York Times 2610:, 1 November 1997. 2600:Gayford, Martin. " 2284:The New York Times 2004:Miles, Jonathan. " 1661:Eugène Delacroix, 1464:painters Courbet, 1440:A Burial at Ornans 1429:Raft of the Medusa 1421:Raft of the Medusa 1393:The art historian 1343:overtones, in his 1169: 1119: 1073: 985:, under the title 868: 831:The Death of Marat 812: 723: 629: 597: 551: 499: 465:Alexandre Corréard 460: 410: 398: 386: 249: 156:Théodore Géricault 68:Théodore Géricault 9294: 9293: 9208:Romantic medicine 9178:List of romantics 8617: 8616: 8268:Felix Mendelssohn 8263:Fanny Mendelssohn 8074: 8073: 7788:Rosalía de Castro 7726:Soares dos Passos 7074:Transcendentalism 7038:Nazarene movement 6998:Düsseldorf School 6856: 6855: 6834: 6833: 6830: 6829: 6342:The Tree of Crows 6181:Pietà with Saints 6041:Small Holy Family 5268:Et in Arcadia ego 5063:The Village Bride 5051:The Broken Vessel 5045:The Bible Reading 4890:Mademoiselle Rose 4582: 4581: 4578: 4577: 4449:Furietti Centaurs 4292:Stela of Pasenhor 4246:The Seated Scribe 4177:Statue of Ebih-Il 4117:Masub inscription 4067:Code of Hammurabi 3991: 3990: 3973:Pyramide inversée 3958:Pavillon de Flore 3892: 3891: 3733: 3732: 3561:978-0-679-40069-1 3536:. Taschen, 2000. 3525:Muther, Richard. 3520:978-0-87113-959-7 3304:978-3-7913-2782-2 3298:, Prestel, 2002, 3281:Wellington, 19–49 3093:978-1-4094-2200-6 2961:Smith, Roberta. " 2892:Searle, Adrian. " 2792:978-0-19-817409-7 2651:Lacayo, Richard. 2602:Distinctive power 2298:Anatomical Pieces 2173:The New Criterion 2106:Banham, Joanna. " 1688:A Disaster at Sea 1664:Massacre at Chios 1616:Antoine-Jean Gros 1487:The influence of 1417:Massacre at Chios 1412:The Gates of Hell 1403:Massacre at Chios 1401:and Delacroix's 1387:Massacre at Chios 1330:A Disaster at Sea 1249:Romantic movement 1231:was moved to the 1225:Comédie-Française 987:Scène de Naufrage 803:The Last Judgment 780:Antoine-Jean Gros 648:sculpture titled 188:Romantic movement 176:custom of the sea 136:Scène de Naufrage 113: 112: 9344: 9284: 9283: 9243:Evolution theory 8085: 8084: 7218: 7217: 7079:Ukrainian school 6883: 6876: 6869: 6860: 6859: 6846: 6845: 6817: 6793: 6780: 6748: 6735: 6726:The Young Beggar 6716: 6691: 6666: 6640: 6621: 6602: 6589: 6574:The Ray of Light 6564: 6549:The Village Fête 6515: 6460: 6447: 6434: 6421: 6408: 6395: 6376: 6351: 6338: 6325: 6300: 6287: 6268: 6255: 6242: 6229: 6203: 6190: 6177: 6156:Pastoral Concert 6144:Man with a Glove 6122: 6109: 6090: 6077: 6064: 6050: 5983: 5970: 5957: 5939:(with Ingegno); 5914: 5901: 5888: 5875: 5856: 5843: 5800: 5775: 5750: 5707: 5694: 5681: 5662: 5643: 5624: 5597:Allegory of Vice 5593: 5580: 5561: 5548: 5523: 5498: 5473: 5464:The Four Seasons 5460: 5447: 5434: 5378: 5369:Hesselin Madonna 5359: 5346: 5333: 5314: 5301: 5274:The Four Seasons 5258: 5245: 5208: 5193:The Turkish Bath 5151:Grande Odalisque 5135: 5116: 5103: 5072: 5041: 5004: 4979: 4966: 4957:The Young Martyr 4941: 4926:Women of Algiers 4850: 4771: 4758: 4745: 4718:Aline Chassériau 4714: 4671: 4646: 4633: 4614: 4599: 4598: 4588: 4587: 4504:Sleeping Ariadne 4454:Gladiator Mosaic 4419:Cupid and Psyche 4364:Apollo of Mantua 4359:Apollo Belvedere 4252:Banishment Stela 4202:Vase of Entemena 4062:Cippi of Melqart 4008: 4007: 3997: 3996: 3948:Louvre Colonnade 3934: 3933: 3919: 3912: 3905: 3896: 3895: 3847:(c. 1820–1823) ( 3766: 3759: 3752: 3743: 3742: 3715: 3714: 3703: 3702: 3681:Wintle, Justin. 3677: 3661: 3625:, February 2003. 3618: 3593:Novotny, Fritz. 3503: 3484:McKee, Alexander 3419:Fried, Michael. 3385:Eitner, Lorenz. 3370:Eitner, Lorenz. 3282: 3279: 3273: 3270: 3264: 3261: 3255: 3252: 3246: 3232: 3226: 3219: 3210: 3207: 3201: 3198: 3192: 3174: 3168: 3154: 3148: 3145: 3139: 3136: 3130: 3116: 3110: 3107: 3098: 3097: 3079: 3073: 3070: 3064: 3053: 3047: 3044: 3033: 3019: 3013: 3002: 2996: 2978: 2972: 2959: 2950: 2943: 2937: 2934: 2928: 2921: 2915: 2912: 2903: 2890: 2884: 2881: 2875: 2872: 2866: 2863: 2857: 2843: 2837: 2836: 2834: 2832: 2813: 2803: 2797: 2796: 2775: 2769: 2762: 2753: 2743: 2737: 2731: 2725: 2710: 2704: 2701: 2695: 2692: 2686: 2668: 2662: 2649: 2643: 2631:Clark, Kenneth. 2629: 2620: 2617: 2611: 2598: 2587: 2586: 2584: 2582: 2567: 2561: 2560: 2558: 2556: 2541: 2532: 2531: 2499: 2488: 2487: 2459: 2453: 2450: 2444: 2438: 2427: 2426: 2412: 2406: 2405: 2380: 2374: 2361:Eitner, Lorenz. 2359: 2353: 2347: 2341: 2338: 2323: 2320: 2311: 2308: 2302: 2294: 2288: 2275: 2240: 2237: 2231: 2228: 2217: 2214: 2203: 2200: 2191: 2188: 2177: 2165: 2154: 2151: 2142: 2139: 2133: 2130: 2124: 2104: 2095: 2092: 2083: 2080: 2067: 2059: 2053: 2050:American Scholar 2046: 2037: 2030: 2024: 2021: 2015: 2002: 1996: 1993: 1987: 1984: 1978: 1977: 1959: 1953: 1950: 1944: 1941:The Art Bulletin 1937: 1922: 1914:, 2002. 174–78. 1904: 1895: 1884: 1878: 1867: 1861: 1854: 1848: 1841: 1835: 1817: 1811: 1808: 1802: 1791: 1776: 1769: 1763: 1762: 1742: 1714: 1700: 1697: 1680: 1658: 1637:Eugène Delacroix 1633: 1612: 1583: 1558:Today, a bronze 1419:and Géricault's 1338: 1335: 1318:Josiah Wedgewood 1301: 1258:history painting 1215: 1033:. The historian 1007: 778:(1748–1825) and 764:(1475–1564) and 670:, two different 626: 623: 601:Eugène Delacroix 590: 587: 548: 268:, bound for the 264:, departed from 211:Eugène Delacroix 199:history painting 132: 59: 49: 32: 31: 9352: 9351: 9347: 9346: 9345: 9343: 9342: 9341: 9297: 9296: 9295: 9290: 9289: 9278: 9270: 9256: 9213:Romantic poetry 9198:Romantic ballet 9173:German idealism 9156: 9122:Lacoue-Labarthe 9048: 8795: 8613: 8562: 8531: 8512:Rimsky-Korsakov 8455: 8404: 8353: 8312: 8221: 8165: 8129: 8070: 7919: 7863: 7812: 7771: 7730: 7684: 7626: 7567:Maria Edgeworth 7503: 7496: 7375: 7297: 7207: 7186:Romantic genius 7116:Gesamtkunstwerk 7093: 7054:Sturm und Drang 6961: 6892: 6887: 6857: 6852: 6826: 6813: 6802: 6789: 6776: 6763: 6758:Saint Apollonia 6744: 6731: 6712: 6687: 6662: 6649: 6636: 6631:Braque Triptych 6617: 6598: 6585: 6560: 6511: 6456: 6443: 6430: 6417: 6404: 6391: 6372: 6367:The Lute Player 6347: 6334: 6321: 6296: 6283: 6264: 6251: 6238: 6225: 6212: 6199: 6186: 6173: 6118: 6105: 6086: 6073: 6060: 6046: 5979: 5966: 5953: 5910: 5897: 5884: 5871: 5852: 5839: 5828:Saint Sebastian 5796: 5771: 5746: 5703: 5690: 5677: 5658: 5639: 5620: 5589: 5576: 5557: 5544: 5519: 5494: 5477:Christ Blessing 5469: 5456: 5443: 5430: 5417: 5412:The Two Cousins 5374: 5355: 5342: 5329: 5310: 5297: 5254: 5249:Ex-Voto de 1662 5241: 5204: 5131: 5112: 5099: 5068: 5037: 5000: 4975: 4962: 4937: 4846: 4767: 4754: 4741: 4736:The Two Sisters 4710: 4667: 4642: 4629: 4610: 4593: 4574: 4553: 4474:Lady of Auxerre 4444:Eurytios Krater 4389:Barberini ivory 4354:Antioch mosaics 4329: 4316: 4307:Hunters Palette 4226: 4217:Yehawmilk Stele 4187:Stele of Zakkur 4167:Sidon Mithraeum 4077:Gudea cylinders 4015:and Middle East 4014: 4002: 3987: 3983:Medieval Louvre 3939: 3928: 3923: 3893: 3888: 3854: 3775: 3770: 3712: 3706:External videos 3701: 3696: 3674: 3616: 3580:Tate Publishing 3553:Alfred A. Knopf 3532:Néret, Gilles. 3500: 3400:Elsen, Albert. 3340:Boime, Albert. 3290: 3285: 3280: 3276: 3271: 3267: 3262: 3258: 3253: 3249: 3233: 3229: 3220: 3213: 3208: 3204: 3199: 3195: 3185:Wayback Machine 3175: 3171: 3155: 3151: 3146: 3142: 3137: 3133: 3127:Wayback Machine 3117: 3113: 3108: 3101: 3094: 3080: 3076: 3071: 3067: 3054: 3050: 3045: 3036: 3020: 3016: 3004:Moncure, Sue. " 3003: 2999: 2989:Wayback Machine 2979: 2975: 2960: 2953: 2944: 2940: 2935: 2931: 2922: 2918: 2913: 2906: 2891: 2887: 2882: 2878: 2873: 2869: 2864: 2860: 2854:Wayback Machine 2844: 2840: 2830: 2828: 2826: 2804: 2800: 2793: 2776: 2772: 2763: 2756: 2744: 2740: 2732: 2728: 2712:See especially 2711: 2707: 2702: 2698: 2693: 2689: 2679:Wayback Machine 2669: 2665: 2650: 2646: 2630: 2623: 2618: 2614: 2599: 2590: 2580: 2578: 2568: 2564: 2554: 2552: 2542: 2535: 2500: 2491: 2476: 2460: 2456: 2451: 2447: 2441:Wellington 1980 2439: 2430: 2413: 2409: 2381: 2377: 2360: 2356: 2352:, pp. 157. 2348: 2344: 2339: 2326: 2321: 2314: 2309: 2305: 2295: 2291: 2276: 2243: 2238: 2234: 2229: 2220: 2215: 2206: 2201: 2194: 2189: 2180: 2166: 2157: 2152: 2145: 2140: 2136: 2131: 2127: 2115:Wayback Machine 2105: 2098: 2093: 2086: 2081: 2070: 2060: 2056: 2047: 2040: 2031: 2027: 2022: 2018: 2003: 1999: 1994: 1990: 1985: 1981: 1974: 1960: 1956: 1952:Eitner, 191–192 1951: 1947: 1938: 1925: 1905: 1898: 1885: 1881: 1877:(London, 2007). 1868: 1864: 1855: 1851: 1842: 1838: 1818: 1814: 1809: 1805: 1792: 1779: 1771:Berger, Klaus. 1770: 1766: 1759: 1743: 1739: 1735: 1728: 1722:The Gulf Stream 1715: 1706: 1698: 1690:(also known as 1684:J. M. W. Turner 1681: 1672: 1659: 1650: 1634: 1625: 1613: 1604: 1584: 1508:The Gulf Stream 1436:Gustave Courbet 1336: 1326:J. M. W. Turner 1308:French colonies 1299: 1278:Nicolas Poussin 1266:François Gérard 1241: 1209: 1176:comte de Forbin 1151:moving panorama 1131:William Bullock 991:Shipwreck Scene 976: 771:Transfiguration 741: 651:Belvedere Torso 646:Greek Classical 624: 588: 572: 542: 530:Sailors of the 509:English Channel 440: 435: 371: 260:, captained by 237: 231: 219:Gustave Courbet 215:J. M. W. Turner 141:Shipwreck Scene 28: 17: 12: 11: 5: 9350: 9340: 9339: 9334: 9329: 9324: 9319: 9314: 9309: 9307:1819 paintings 9292: 9291: 9271: 9263: 9262: 9261: 9258: 9257: 9255: 9254: 9247: 9246: 9245: 9240: 9230: 9225: 9220: 9215: 9210: 9205: 9200: 9195: 9190: 9185: 9180: 9175: 9170: 9164: 9162: 9161:Related topics 9158: 9157: 9155: 9154: 9149: 9144: 9139: 9134: 9129: 9124: 9119: 9114: 9109: 9104: 9099: 9094: 9089: 9084: 9079: 9074: 9069: 9064: 9058: 9056: 9050: 9049: 9047: 9046: 9041: 9036: 9031: 9026: 9021: 9016: 9011: 9006: 9001: 8996: 8991: 8986: 8981: 8976: 8971: 8966: 8961: 8956: 8951: 8946: 8941: 8936: 8931: 8926: 8921: 8916: 8911: 8906: 8901: 8896: 8891: 8889:Gallen-Kallela 8886: 8881: 8876: 8871: 8866: 8864:David d'Angers 8861: 8856: 8851: 8846: 8841: 8836: 8831: 8826: 8821: 8816: 8811: 8805: 8803: 8801:Visual artists 8797: 8796: 8794: 8793: 8788: 8783: 8778: 8773: 8768: 8763: 8761:Schleiermacher 8758: 8753: 8748: 8743: 8738: 8733: 8728: 8723: 8718: 8713: 8708: 8703: 8698: 8693: 8688: 8683: 8678: 8673: 8668: 8663: 8658: 8653: 8648: 8643: 8638: 8633: 8627: 8625: 8619: 8618: 8615: 8614: 8612: 8611: 8606: 8601: 8596: 8591: 8586: 8581: 8576: 8570: 8568: 8564: 8563: 8561: 8560: 8555: 8550: 8545: 8539: 8537: 8533: 8532: 8530: 8529: 8524: 8519: 8514: 8509: 8504: 8499: 8494: 8489: 8484: 8479: 8474: 8469: 8463: 8461: 8457: 8456: 8454: 8453: 8448: 8443: 8438: 8433: 8428: 8423: 8418: 8412: 8410: 8406: 8405: 8403: 8402: 8397: 8392: 8387: 8382: 8377: 8372: 8367: 8361: 8359: 8355: 8354: 8352: 8351: 8346: 8341: 8336: 8331: 8326: 8320: 8318: 8314: 8313: 8311: 8310: 8305: 8300: 8295: 8290: 8285: 8280: 8275: 8270: 8265: 8260: 8255: 8250: 8245: 8240: 8235: 8229: 8227: 8223: 8222: 8220: 8219: 8214: 8209: 8204: 8199: 8194: 8189: 8184: 8179: 8173: 8171: 8167: 8166: 8164: 8163: 8158: 8153: 8148: 8143: 8137: 8135: 8131: 8130: 8128: 8127: 8122: 8117: 8112: 8107: 8102: 8097: 8091: 8089: 8082: 8076: 8075: 8072: 8071: 8069: 8068: 8063: 8058: 8053: 8048: 8043: 8038: 8033: 8028: 8026:Oehlenschläger 8023: 8018: 8013: 8008: 8003: 7998: 7993: 7988: 7983: 7978: 7973: 7968: 7963: 7958: 7953: 7948: 7943: 7938: 7933: 7927: 7925: 7921: 7920: 7918: 7917: 7912: 7907: 7902: 7897: 7892: 7887: 7882: 7877: 7871: 7869: 7865: 7864: 7862: 7861: 7856: 7851: 7846: 7841: 7836: 7831: 7826: 7820: 7818: 7814: 7813: 7811: 7810: 7805: 7800: 7795: 7790: 7785: 7779: 7777: 7773: 7772: 7770: 7769: 7764: 7759: 7754: 7749: 7744: 7738: 7736: 7732: 7731: 7729: 7728: 7723: 7718: 7713: 7708: 7703: 7698: 7696:Castelo Branco 7692: 7690: 7686: 7685: 7683: 7682: 7677: 7672: 7667: 7662: 7657: 7652: 7647: 7642: 7636: 7634: 7628: 7627: 7625: 7624: 7619: 7614: 7609: 7604: 7599: 7594: 7589: 7584: 7579: 7574: 7569: 7564: 7559: 7554: 7549: 7544: 7539: 7534: 7529: 7524: 7519: 7514: 7508: 7506: 7498: 7497: 7495: 7494: 7489: 7484: 7479: 7474: 7469: 7464: 7459: 7454: 7449: 7444: 7439: 7434: 7429: 7424: 7422:Brothers Grimm 7419: 7414: 7409: 7404: 7399: 7394: 7389: 7383: 7381: 7377: 7376: 7374: 7373: 7368: 7363: 7358: 7353: 7348: 7343: 7338: 7333: 7328: 7323: 7318: 7313: 7307: 7305: 7299: 7298: 7296: 7295: 7290: 7285: 7280: 7275: 7270: 7265: 7260: 7255: 7250: 7245: 7240: 7235: 7230: 7224: 7222: 7215: 7209: 7208: 7206: 7205: 7200: 7193: 7188: 7183: 7178: 7173: 7168: 7163: 7158: 7153: 7146: 7141: 7140: 7139: 7134: 7124: 7122:Gothic fiction 7119: 7112: 7110:British Marine 7107: 7101: 7099: 7095: 7094: 7092: 7091: 7086: 7081: 7076: 7071: 7064: 7059: 7058: 7057: 7045: 7040: 7035: 7030: 7025: 7020: 7015: 7010: 7008:Gothic revival 7005: 7000: 6995: 6990: 6985: 6980: 6975: 6969: 6967: 6963: 6962: 6960: 6959: 6954: 6949: 6944: 6939: 6934: 6929: 6924: 6919: 6911: 6906: 6900: 6898: 6894: 6893: 6886: 6885: 6878: 6871: 6863: 6854: 6853: 6851: 6850: 6839: 6836: 6835: 6832: 6831: 6828: 6827: 6825: 6824: 6810: 6808: 6804: 6803: 6801: 6800: 6787: 6773: 6771: 6765: 6764: 6762: 6761: 6742: 6729: 6710: 6685: 6659: 6657: 6651: 6650: 6648: 6647: 6634: 6615: 6606:The Astronomer 6596: 6583: 6558: 6509: 6506:Slaughtered Ox 6454: 6441: 6428: 6415: 6402: 6389: 6370: 6361:The Gypsy Girl 6345: 6332: 6319: 6294: 6281: 6262: 6249: 6236: 6222: 6220: 6214: 6213: 6211: 6210: 6197: 6184: 6171: 6116: 6103: 6084: 6071: 6058: 6057:(with Raphael) 6044: 6008:(with Penni); 5977: 5964: 5951: 5908: 5895: 5882: 5869: 5850: 5837: 5794: 5769: 5744: 5701: 5688: 5675: 5656: 5637: 5634:Reign of Comus 5618: 5587: 5574: 5555: 5542: 5517: 5492: 5467: 5454: 5441: 5427: 5425: 5419: 5418: 5416: 5415: 5372: 5353: 5340: 5327: 5308: 5295: 5252: 5239: 5202: 5129: 5110: 5097: 5066: 5035: 4998: 4973: 4960: 4935: 4844: 4765: 4752: 4739: 4708: 4665: 4640: 4627: 4607: 4605: 4595: 4594: 4584: 4583: 4580: 4579: 4576: 4575: 4573: 4572: 4567: 4561: 4559: 4555: 4554: 4552: 4551: 4546: 4541: 4539:Venus of Arles 4536: 4534:Venus Genetrix 4531: 4526: 4524:Venus and Mars 4521: 4516: 4511: 4506: 4501: 4496: 4491: 4486: 4481: 4479:Las Incantadas 4476: 4471: 4466: 4461: 4456: 4451: 4446: 4441: 4436: 4431: 4426: 4424:Diana of Gabii 4421: 4416: 4411: 4409:Borghese Venus 4406: 4401: 4396: 4391: 4386: 4381: 4376: 4371: 4366: 4361: 4356: 4351: 4346: 4341: 4335: 4333: 4318: 4317: 4315: 4314: 4309: 4304: 4299: 4294: 4289: 4284: 4279: 4274: 4272:Dendera zodiac 4269: 4264: 4259: 4257:Bentresh stela 4254: 4249: 4242: 4236: 4234: 4228: 4227: 4225: 4224: 4219: 4214: 4209: 4204: 4199: 4194: 4189: 4184: 4179: 4174: 4169: 4164: 4159: 4154: 4149: 4144: 4139: 4134: 4129: 4124: 4119: 4114: 4109: 4104: 4099: 4094: 4089: 4084: 4079: 4074: 4069: 4064: 4059: 4054: 4049: 4044: 4039: 4034: 4029: 4024: 4018: 4016: 4004: 4003: 3993: 3992: 3989: 3988: 3986: 3985: 3980: 3975: 3970: 3968:Louvre Pyramid 3965: 3960: 3955: 3950: 3944: 3941: 3940: 3930: 3929: 3922: 3921: 3914: 3907: 3899: 3890: 3889: 3887: 3886: 3880: 3875: 3869: 3862: 3860: 3856: 3855: 3853: 3852: 3840: 3832: 3824: 3816: 3808: 3800: 3792: 3783: 3781: 3777: 3776: 3769: 3768: 3761: 3754: 3746: 3740: 3739: 3737:Louvre website 3731: 3730: 3708: 3707: 3700: 3699:External links 3697: 3695: 3694: 3679: 3672: 3662:. Ithaca, NY: 3651: 3641: 3626: 3613: 3598: 3591: 3572: 3545: 3530: 3523: 3504: 3499:978-1602391864 3498: 3480: 3465: 3450: 3432: 3417: 3398: 3383: 3368: 3357: 3338: 3331: 3326:. Chapter 5, 3310:Barnes, Julian 3307: 3291: 3289: 3286: 3284: 3283: 3274: 3265: 3256: 3247: 3227: 3211: 3202: 3193: 3169: 3149: 3140: 3138:Wellington, xv 3131: 3111: 3099: 3092: 3074: 3065: 3048: 3034: 3014: 2997: 2973: 2951: 2938: 2929: 2916: 2904: 2885: 2876: 2867: 2858: 2838: 2824: 2798: 2791: 2770: 2754: 2738: 2726: 2705: 2696: 2687: 2663: 2644: 2621: 2612: 2588: 2562: 2533: 2514:(2): 301–340. 2489: 2474: 2454: 2445: 2428: 2407: 2375: 2354: 2342: 2324: 2312: 2303: 2289: 2241: 2232: 2218: 2216:Muther, 225–26 2204: 2192: 2178: 2155: 2143: 2134: 2125: 2096: 2084: 2068: 2054: 2052:, Autumn 2007. 2038: 2025: 2016: 1997: 1988: 1979: 1972: 1954: 1945: 1923: 1896: 1879: 1862: 1860:, Spring 2002. 1849: 1836: 1812: 1803: 1777: 1764: 1757: 1736: 1734: 1731: 1730: 1729: 1716: 1709: 1707: 1699: 1833-35 1682: 1675: 1673: 1660: 1653: 1651: 1635: 1628: 1626: 1618:, detail from 1614: 1607: 1605: 1585: 1578: 1466:Honoré Daumier 1442:(1849–50) and 1397:believed that 1359:Raft of Medusa 1346:The Slave Ship 1240: 1237: 1192:Gilbert Stuart 1035:Jules Michelet 975: 972: 948:Francisco Goya 817:Richard Muther 808:Sistine Chapel 740: 737: 625: 1818-19 608:Raft of Medusa 589: 1818-19 571: 568: 439: 436: 434: 431: 370: 367: 363:defeat in 1815 317:Peace of Paris 233:Main article: 230: 227: 111: 110: 101: 97: 96: 93: 89: 88: 83: 79: 78: 75: 71: 70: 65: 61: 60: 52: 51: 37: 36: 15: 9: 6: 4: 3: 2: 9349: 9338: 9335: 9333: 9330: 9328: 9325: 9323: 9320: 9318: 9315: 9313: 9310: 9308: 9305: 9304: 9302: 9288: 9287: 9276: 9275: 9269: 9268: 9259: 9253: 9252: 9248: 9244: 9241: 9239: 9236: 9235: 9234: 9231: 9229: 9226: 9224: 9221: 9219: 9216: 9214: 9211: 9209: 9206: 9204: 9201: 9199: 9196: 9194: 9191: 9189: 9186: 9184: 9181: 9179: 9176: 9174: 9171: 9169: 9166: 9165: 9163: 9159: 9153: 9150: 9148: 9145: 9143: 9140: 9138: 9135: 9133: 9130: 9128: 9125: 9123: 9120: 9118: 9115: 9113: 9110: 9108: 9105: 9103: 9100: 9098: 9095: 9093: 9090: 9088: 9085: 9083: 9080: 9078: 9075: 9073: 9070: 9068: 9065: 9063: 9060: 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Shelley 7610: 7608: 7605: 7603: 7600: 7598: 7595: 7593: 7592:Mary Robinson 7590: 7588: 7585: 7583: 7580: 7578: 7575: 7573: 7570: 7568: 7565: 7563: 7560: 7558: 7555: 7553: 7550: 7548: 7545: 7543: 7540: 7538: 7535: 7533: 7530: 7528: 7525: 7523: 7520: 7518: 7515: 7513: 7510: 7509: 7507: 7505: 7499: 7493: 7490: 7488: 7485: 7483: 7480: 7478: 7475: 7473: 7470: 7468: 7465: 7463: 7460: 7458: 7455: 7453: 7450: 7448: 7445: 7443: 7440: 7438: 7435: 7433: 7430: 7428: 7425: 7423: 7420: 7418: 7415: 7413: 7410: 7408: 7405: 7403: 7400: 7398: 7395: 7393: 7390: 7388: 7385: 7384: 7382: 7378: 7372: 7369: 7367: 7364: 7362: 7359: 7357: 7354: 7352: 7349: 7347: 7344: 7342: 7339: 7337: 7334: 7332: 7329: 7327: 7324: 7322: 7321:Chateaubriand 7319: 7317: 7314: 7312: 7309: 7308: 7306: 7304: 7300: 7294: 7291: 7289: 7286: 7284: 7281: 7279: 7276: 7274: 7271: 7269: 7266: 7264: 7261: 7259: 7256: 7254: 7251: 7249: 7246: 7244: 7241: 7239: 7236: 7234: 7231: 7229: 7226: 7225: 7223: 7219: 7216: 7214: 7210: 7204: 7201: 7199: 7198: 7194: 7192: 7189: 7187: 7184: 7182: 7179: 7177: 7174: 7172: 7169: 7167: 7164: 7162: 7159: 7157: 7154: 7152: 7151: 7150:Mal du siècle 7147: 7145: 7142: 7138: 7135: 7133: 7130: 7129: 7128: 7125: 7123: 7120: 7118: 7117: 7113: 7111: 7108: 7106: 7103: 7102: 7100: 7096: 7090: 7087: 7085: 7082: 7080: 7077: 7075: 7072: 7070: 7069: 7065: 7063: 7060: 7056: 7055: 7051: 7050: 7049: 7046: 7044: 7041: 7039: 7036: 7034: 7031: 7029: 7026: 7024: 7021: 7019: 7016: 7014: 7011: 7009: 7006: 7004: 7001: 6999: 6996: 6994: 6991: 6989: 6986: 6984: 6981: 6979: 6976: 6974: 6971: 6970: 6968: 6964: 6958: 6955: 6953: 6950: 6948: 6945: 6943: 6940: 6938: 6935: 6933: 6930: 6928: 6925: 6923: 6920: 6918: 6915: 6912: 6910: 6907: 6905: 6902: 6901: 6899: 6895: 6891: 6884: 6879: 6877: 6872: 6870: 6865: 6864: 6861: 6849: 6841: 6840: 6837: 6823: 6822: 6816: 6812: 6811: 6809: 6805: 6799: 6798: 6792: 6788: 6786: 6785: 6779: 6775: 6774: 6772: 6770: 6766: 6760: 6759: 6754: 6753: 6747: 6743: 6741: 6740: 6734: 6730: 6728: 6727: 6722: 6721: 6715: 6711: 6709: 6708: 6703: 6702: 6697: 6696: 6690: 6686: 6684: 6683: 6678: 6677: 6672: 6671: 6665: 6661: 6660: 6658: 6656: 6652: 6646: 6645: 6639: 6635: 6633: 6632: 6627: 6626: 6620: 6616: 6614: 6613: 6612:The Lacemaker 6608: 6607: 6601: 6597: 6595: 6594: 6588: 6584: 6582: 6581: 6576: 6575: 6570: 6569: 6563: 6559: 6557: 6556: 6551: 6550: 6545: 6544: 6539: 6538: 6533: 6532: 6527: 6526: 6521: 6520: 6514: 6510: 6508: 6507: 6502: 6501: 6500:Self-Portrait 6496: 6495: 6490: 6489: 6484: 6483: 6478: 6477: 6472: 6471: 6466: 6465: 6459: 6455: 6453: 6452: 6446: 6442: 6440: 6439: 6433: 6429: 6427: 6426: 6420: 6416: 6414: 6413: 6407: 6403: 6401: 6400: 6394: 6393:de Hooch 6390: 6388: 6387: 6382: 6381: 6375: 6371: 6369: 6368: 6363: 6362: 6357: 6356: 6350: 6346: 6344: 6343: 6337: 6333: 6331: 6330: 6324: 6323:van Eyck 6320: 6318: 6317: 6312: 6311: 6306: 6305: 6299: 6298:van Dyck 6295: 6293: 6292: 6286: 6282: 6280: 6279: 6274: 6273: 6267: 6263: 6261: 6260: 6254: 6250: 6248: 6247: 6241: 6237: 6235: 6234: 6233:Ship of Fools 6228: 6224: 6223: 6221: 6219: 6215: 6209: 6208: 6202: 6198: 6196: 6195: 6189: 6185: 6183: 6182: 6176: 6172: 6170: 6169: 6164: 6163: 6158: 6157: 6152: 6151: 6146: 6145: 6140: 6139: 6134: 6133: 6128: 6127: 6121: 6117: 6115: 6114: 6113:Self Portrait 6108: 6104: 6102: 6101: 6096: 6095: 6089: 6085: 6083: 6082: 6076: 6072: 6070: 6069: 6063: 6059: 6056: 6055: 6049: 6045: 6043: 6042: 6037: 6036: 6031: 6030: 6025: 6024: 6023:Saint Michael 6019: 6018: 6013: 6012: 6007: 6006: 6001: 6000: 5995: 5994: 5989: 5988: 5982: 5978: 5976: 5975: 5969: 5965: 5963: 5962: 5956: 5952: 5950: 5949: 5944: 5943: 5938: 5937: 5932: 5931: 5926: 5925: 5920: 5919: 5913: 5909: 5907: 5906: 5900: 5896: 5894: 5893: 5887: 5883: 5881: 5880: 5874: 5870: 5868: 5867: 5862: 5861: 5855: 5851: 5849: 5848: 5842: 5838: 5836: 5835: 5830: 5829: 5824: 5823: 5818: 5817: 5812: 5811: 5806: 5805: 5799: 5795: 5793: 5792: 5787: 5786: 5781: 5780: 5774: 5770: 5768: 5767: 5762: 5761: 5756: 5755: 5749: 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5232: 5231: 5226: 5225: 5220: 5219: 5214: 5213: 5207: 5203: 5201: 5200: 5195: 5194: 5189: 5188: 5183: 5182: 5177: 5176: 5171: 5170: 5165: 5164: 5159: 5158: 5153: 5152: 5147: 5146: 5141: 5140: 5134: 5130: 5128: 5127: 5122: 5121: 5115: 5111: 5109: 5108: 5102: 5098: 5096: 5095: 5090: 5089: 5084: 5083: 5078: 5077: 5071: 5067: 5065: 5064: 5059: 5058: 5053: 5052: 5047: 5046: 5040: 5036: 5034: 5033: 5028: 5027: 5022: 5021: 5016: 5015: 5010: 5009: 5003: 4999: 4997: 4996: 4991: 4990: 4985: 4984: 4978: 4974: 4972: 4971: 4965: 4961: 4959: 4958: 4953: 4952: 4947: 4946: 4940: 4936: 4934: 4933: 4928: 4927: 4922: 4921: 4916: 4915: 4910: 4909: 4904: 4903: 4898: 4897: 4892: 4891: 4886: 4885: 4880: 4879: 4874: 4873: 4868: 4867: 4862: 4861: 4856: 4855: 4849: 4845: 4843: 4842: 4841:Self-Portrait 4837: 4836: 4831: 4830: 4825: 4824: 4819: 4818: 4813: 4812: 4807: 4806: 4801: 4800: 4795: 4794: 4789: 4788: 4783: 4782: 4777: 4776: 4770: 4766: 4764: 4763: 4757: 4753: 4751: 4750: 4744: 4740: 4738: 4737: 4732: 4731: 4726: 4725: 4724:Self-Portrait 4720: 4719: 4713: 4709: 4707: 4706: 4701: 4700: 4695: 4694: 4689: 4688: 4683: 4682: 4677: 4676: 4670: 4666: 4664: 4663: 4658: 4657: 4656:Diana Bathing 4652: 4651: 4645: 4641: 4639: 4638: 4632: 4628: 4626: 4625: 4620: 4619: 4613: 4609: 4608: 4606: 4604: 4600: 4596: 4589: 4585: 4571: 4568: 4566: 4563: 4562: 4560: 4556: 4550: 4547: 4545: 4542: 4540: 4537: 4535: 4532: 4530: 4529:Venus de Milo 4527: 4525: 4522: 4520: 4517: 4515: 4512: 4510: 4507: 4505: 4502: 4500: 4497: 4495: 4492: 4490: 4487: 4485: 4482: 4480: 4477: 4475: 4472: 4470: 4467: 4465: 4462: 4460: 4459:Hera Borghese 4457: 4455: 4452: 4450: 4447: 4445: 4442: 4440: 4437: 4435: 4432: 4430: 4427: 4425: 4422: 4420: 4417: 4415: 4412: 4410: 4407: 4405: 4404:Borghese Vase 4402: 4400: 4397: 4395: 4392: 4390: 4387: 4385: 4382: 4380: 4379:Ares Borghese 4377: 4375: 4372: 4370: 4367: 4365: 4362: 4360: 4357: 4355: 4352: 4350: 4347: 4345: 4342: 4340: 4337: 4336: 4334: 4332: 4327: 4323: 4319: 4313: 4310: 4308: 4305: 4303: 4300: 4298: 4295: 4293: 4290: 4288: 4285: 4283: 4280: 4278: 4275: 4273: 4270: 4268: 4265: 4263: 4260: 4258: 4255: 4253: 4250: 4248: 4247: 4243: 4241: 4238: 4237: 4235: 4233: 4232:Ancient Egypt 4229: 4223: 4220: 4218: 4215: 4213: 4210: 4208: 4205: 4203: 4200: 4198: 4195: 4193: 4190: 4188: 4185: 4183: 4180: 4178: 4175: 4173: 4170: 4168: 4165: 4163: 4160: 4158: 4155: 4153: 4150: 4148: 4147:Neirab steles 4145: 4143: 4140: 4138: 4135: 4133: 4130: 4128: 4125: 4123: 4120: 4118: 4115: 4113: 4110: 4108: 4105: 4103: 4100: 4098: 4095: 4093: 4092:Lament for Ur 4090: 4088: 4085: 4083: 4080: 4078: 4075: 4073: 4070: 4068: 4065: 4063: 4060: 4058: 4055: 4053: 4050: 4048: 4045: 4043: 4040: 4038: 4035: 4033: 4030: 4028: 4025: 4023: 4020: 4019: 4017: 4013: 4009: 4005: 3998: 3994: 3984: 3981: 3979: 3976: 3974: 3971: 3969: 3966: 3964: 3961: 3959: 3956: 3954: 3951: 3949: 3946: 3945: 3942: 3935: 3931: 3927: 3926:Louvre Museum 3920: 3915: 3913: 3908: 3906: 3901: 3900: 3897: 3884: 3883:Lorenz Eitner 3881: 3879: 3876: 3873: 3870: 3867: 3864: 3863: 3861: 3857: 3850: 3846: 3845: 3841: 3838: 3837: 3833: 3830: 3829: 3825: 3822: 3821: 3817: 3814: 3813: 3809: 3806: 3805: 3801: 3798: 3797: 3793: 3790: 3789: 3785: 3784: 3782: 3778: 3774: 3767: 3762: 3760: 3755: 3753: 3748: 3747: 3744: 3738: 3735: 3734: 3729: 3725: 3721: 3720: 3709: 3704: 3692: 3691:0-415-26584-3 3688: 3684: 3680: 3675: 3673:0-8014-9196-7 3669: 3665: 3660: 3659: 3652: 3649: 3648: 3642: 3639: 3638:0-396-07775-7 3635: 3631: 3627: 3624: 3623: 3622:History Today 3614: 3611: 3610:1-85437-513-X 3607: 3603: 3599: 3596: 3592: 3589: 3588:1-85437-513-X 3585: 3581: 3577: 3573: 3570: 3566: 3562: 3558: 3554: 3550: 3546: 3543: 3542:3-8228-5988-5 3539: 3535: 3531: 3528: 3524: 3521: 3517: 3513: 3509: 3505: 3501: 3495: 3491: 3490: 3485: 3481: 3478: 3477:0-451-20044-6 3474: 3470: 3466: 3463: 3462:3-8228-4790-9 3459: 3455: 3451: 3448: 3447:0-300-08887-6 3444: 3440: 3437: 3433: 3430: 3429:0-226-26217-0 3426: 3422: 3418: 3415: 3414:0-8047-1273-5 3411: 3407: 3403: 3399: 3396: 3395:0-8133-6570-8 3392: 3388: 3384: 3381: 3380:0-8021-4392-X 3377: 3373: 3369: 3366: 3362: 3358: 3355: 3354:0-226-06337-2 3351: 3347: 3343: 3339: 3336: 3332: 3329: 3325: 3324:0-09-954012-6 3321: 3317: 3316: 3311: 3308: 3305: 3301: 3297: 3293: 3292: 3278: 3269: 3263:Borias, 12:32 3260: 3251: 3245: 3244:0-271-02329-5 3241: 3237: 3231: 3224: 3218: 3216: 3206: 3197: 3190: 3186: 3182: 3179: 3173: 3167: 3166:0-300-08910-4 3163: 3159: 3153: 3144: 3135: 3128: 3124: 3121: 3115: 3106: 3104: 3095: 3089: 3085: 3078: 3069: 3062: 3058: 3052: 3043: 3041: 3039: 3032: 3031:0-679-75686-8 3028: 3024: 3018: 3011: 3007: 3001: 2994: 2990: 2986: 2983: 2977: 2970: 2969: 2964: 2958: 2956: 2948: 2942: 2933: 2926: 2920: 2911: 2909: 2901: 2900: 2895: 2889: 2880: 2871: 2862: 2855: 2851: 2848: 2842: 2827: 2825:0-330-31399-1 2821: 2817: 2812: 2811: 2802: 2794: 2788: 2784: 2783: 2774: 2767: 2761: 2759: 2752:# 50350513324 2751: 2747: 2742: 2736: 2730: 2723: 2722: 2717: 2716: 2709: 2700: 2694:Borias, 10:11 2691: 2684: 2680: 2676: 2673: 2667: 2660: 2659: 2654: 2648: 2642: 2641:0-691-01788-3 2638: 2634: 2628: 2626: 2616: 2609: 2608: 2607:The Spectator 2603: 2597: 2595: 2593: 2577: 2573: 2566: 2551: 2547: 2540: 2538: 2529: 2525: 2521: 2517: 2513: 2509: 2505: 2498: 2496: 2494: 2485: 2481: 2477: 2475:0-89236-709-1 2471: 2467: 2466: 2458: 2452:Miles, 175–76 2449: 2443:, p. xi. 2442: 2437: 2435: 2433: 2424: 2420: 2419: 2411: 2404: 2400: 2396: 2392: 2388: 2387: 2379: 2372: 2371:0-8133-6570-8 2368: 2364: 2358: 2351: 2346: 2337: 2335: 2333: 2331: 2329: 2319: 2317: 2307: 2300: 2299: 2293: 2286: 2285: 2280: 2274: 2272: 2270: 2268: 2266: 2264: 2262: 2260: 2258: 2256: 2254: 2252: 2250: 2248: 2246: 2239:Borias, 11:38 2236: 2227: 2225: 2223: 2213: 2211: 2209: 2199: 2197: 2187: 2185: 2183: 2175: 2174: 2169: 2168:Wilkin, Karen 2164: 2162: 2160: 2150: 2148: 2138: 2129: 2122: 2121: 2116: 2112: 2109: 2103: 2101: 2091: 2089: 2079: 2077: 2075: 2073: 2065: 2058: 2051: 2045: 2043: 2035: 2029: 2020: 2013: 2012: 2007: 2001: 1992: 1983: 1975: 1973:2-7025-0142-7 1969: 1965: 1958: 1949: 1942: 1936: 1934: 1932: 1930: 1928: 1921: 1920:0-300-08887-6 1917: 1913: 1909: 1903: 1901: 1893: 1889: 1883: 1876: 1872: 1866: 1859: 1853: 1846: 1840: 1834: 1833:0-300-08887-6 1830: 1827:, 2002. 177. 1826: 1822: 1816: 1807: 1800: 1796: 1790: 1788: 1786: 1784: 1782: 1774: 1768: 1760: 1758:9780307797865 1754: 1750: 1749: 1741: 1737: 1727: 1723: 1719: 1718:Winslow Homer 1713: 1708: 1704: 1693: 1689: 1685: 1679: 1674: 1670: 1666: 1665: 1657: 1652: 1648: 1644: 1643: 1638: 1632: 1627: 1623: 1622: 1617: 1611: 1606: 1602: 1598: 1594: 1593: 1588: 1582: 1577: 1576: 1575: 1573: 1569: 1565: 1561: 1556: 1554: 1550: 1549:Kenneth Clark 1545: 1541: 1539: 1535: 1531: 1526: 1523: 1518: 1514: 1513:Winslow Homer 1510: 1509: 1504: 1502: 1498: 1494: 1493:Francis Danby 1490: 1485: 1483: 1479: 1478:Michael Fried 1475: 1471: 1470:Édouard Manet 1467: 1463: 1459: 1455: 1451: 1447: 1446: 1441: 1437: 1432: 1430: 1426: 1425:Last Judgment 1422: 1418: 1414: 1413: 1408: 1407:Auguste Rodin 1404: 1400: 1396: 1391: 1389: 1388: 1383: 1379: 1378: 1372: 1370: 1366: 1365: 1360: 1354: 1350: 1348: 1347: 1342: 1331: 1327: 1323: 1319: 1315: 1314: 1309: 1305: 1295: 1292: 1288: 1286: 1281: 1279: 1275: 1271: 1267: 1263: 1259: 1254: 1250: 1246: 1236: 1234: 1230: 1226: 1222: 1217: 1213: 1208: 1204: 1199: 1197: 1193: 1189: 1185: 1180: 1177: 1173: 1167: 1163: 1158: 1154: 1152: 1148: 1144: 1140: 1136: 1135:Egyptian Hall 1132: 1127: 1125: 1116: 1112: 1111:Egyptian Hall 1107: 1103: 1101: 1100: 1099:Ancien Régime 1095: 1091: 1087: 1083: 1079: 1071: 1067: 1063: 1059: 1055: 1051: 1047: 1042: 1038: 1036: 1032: 1028: 1024: 1020: 1016: 1012: 1008: 1006: 1000: 996: 992: 988: 984: 980: 971: 969: 965: 961: 960: 955: 954: 949: 945: 944: 939: 938: 933: 929: 928: 923: 919: 918: 912: 910: 906: 902: 898: 894: 893: 888: 884: 879: 877: 873: 865: 861: 857: 853: 849: 845: 843: 842: 837: 833: 832: 825: 822: 818: 809: 805: 804: 799: 795: 791: 789: 785: 781: 777: 773: 772: 767: 763: 759: 755: 754: 753:Last Judgment 749: 745: 736: 732: 727: 719: 715: 713: 709: 705: 701: 697: 696:Prussian blue 693: 689: 685: 681: 677: 673: 672:yellow ochres 669: 668:naples yellow 665: 660: 658: 653: 652: 647: 642: 638: 634: 619: 615: 611: 609: 604: 602: 594: 584: 580: 576: 567: 564: 559: 557: 546: 541: 540:Charles Motte 537: 533: 528: 524: 522: 516: 512: 510: 505: 496: 492: 488: 484: 481: 477: 472: 470: 466: 457: 453: 449: 444: 430: 428: 424: 423:Caravaggesque 418: 416: 406: 402: 394: 390: 382: 378: 375: 366: 364: 360: 355: 349: 347: 342: 337: 333: 329: 324: 322: 318: 314: 310: 306: 302: 298: 295: 291: 290: 286: 282: 279: 275: 271: 267: 263: 259: 258: 254: 246: 241: 236: 226: 224: 223:Édouard Manet 220: 216: 212: 208: 204: 200: 196: 191: 189: 185: 179: 177: 173: 168: 164: 163: 157: 154: 150: 146: 142: 138: 137: 131: 127: 123: 119: 118: 109: 105: 102: 98: 94: 90: 87: 86:Oil on canvas 84: 80: 76: 72: 69: 66: 62: 58: 53: 50: 48: 42: 38: 33: 30: 26: 22: 9279: 9272: 9265: 9249: 8969:Porto-Alegre 8623:Philosophers 8507:Rachmaninoff 7956:Chavchavadze 7946:Baratashvili 7706:João de Deus 7675:Wincenty Pol 7467:Küchelbecker 7195: 7161:Noble savage 7148: 7114: 7089:Wallenrodism 7066: 7052: 6983:Coppet group 6917:(literature) 6819: 6814: 6795: 6790: 6782: 6777: 6756: 6750: 6745: 6739:The Clubfoot 6737: 6732: 6724: 6718: 6713: 6705: 6699: 6693: 6688: 6680: 6674: 6668: 6663: 6642: 6637: 6629: 6623: 6618: 6610: 6604: 6599: 6591: 6586: 6578: 6572: 6566: 6561: 6553: 6547: 6541: 6535: 6529: 6523: 6517: 6512: 6504: 6498: 6492: 6486: 6480: 6474: 6468: 6462: 6457: 6449: 6444: 6436: 6431: 6423: 6418: 6410: 6405: 6397: 6392: 6384: 6378: 6373: 6365: 6359: 6353: 6348: 6340: 6335: 6327: 6322: 6314: 6308: 6302: 6297: 6289: 6284: 6276: 6270: 6265: 6257: 6252: 6244: 6239: 6231: 6226: 6205: 6200: 6192: 6187: 6179: 6174: 6166: 6160: 6154: 6148: 6142: 6136: 6130: 6124: 6119: 6111: 6106: 6098: 6092: 6087: 6079: 6074: 6066: 6061: 6052: 6047: 6039: 6033: 6027: 6021: 6017:Saint George 6015: 6009: 6003: 5997: 5991: 5985: 5980: 5972: 5967: 5959: 5954: 5946: 5942:St Sebastian 5940: 5934: 5928: 5922: 5916: 5911: 5903: 5899:Parmigianino 5898: 5892:Ancient Rome 5890: 5885: 5877: 5872: 5864: 5858: 5853: 5845: 5840: 5832: 5826: 5820: 5814: 5808: 5802: 5797: 5789: 5783: 5777: 5772: 5764: 5758: 5752: 5747: 5739: 5733: 5727: 5721: 5715: 5709: 5704: 5696: 5691: 5683: 5678: 5670: 5664: 5659: 5651: 5645: 5640: 5632: 5626: 5621: 5613: 5607: 5601: 5595: 5590: 5582: 5577: 5569: 5563: 5558: 5550: 5545: 5537: 5531: 5525: 5520: 5512: 5506: 5500: 5495: 5487: 5481: 5475: 5470: 5462: 5457: 5449: 5444: 5436: 5432:Fra Angelico 5431: 5410: 5404: 5398: 5392: 5388:The Faux Pas 5386: 5380: 5375: 5367: 5361: 5356: 5348: 5343: 5335: 5330: 5322: 5316: 5311: 5303: 5298: 5290: 5284: 5278: 5272: 5266: 5260: 5255: 5247: 5242: 5234: 5228: 5222: 5216: 5210: 5206:La Tour 5205: 5197: 5191: 5185: 5179: 5173: 5167: 5161: 5155: 5149: 5143: 5137: 5132: 5124: 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The 3360: 3341: 3334: 3327: 3313: 3295: 3277: 3268: 3259: 3250: 3235: 3230: 3222: 3205: 3196: 3188: 3172: 3157: 3156:Clark, T.J. 3152: 3143: 3134: 3114: 3083: 3077: 3068: 3061:Getty Museum 3051: 3046:Néret, 14–16 3022: 3017: 3000: 2976: 2966: 2946: 2941: 2932: 2924: 2919: 2899:The Guardian 2897: 2888: 2879: 2870: 2861: 2841: 2829:. Retrieved 2809: 2801: 2781: 2773: 2765: 2745: 2741: 2729: 2719: 2713: 2708: 2699: 2690: 2666: 2656: 2647: 2632: 2615: 2605: 2579:. Retrieved 2576:Smarthistory 2575: 2565: 2553:. Retrieved 2549: 2511: 2507: 2464: 2457: 2448: 2417: 2410: 2402: 2385: 2378: 2362: 2357: 2345: 2310:Borias, 9:04 2306: 2296: 2292: 2282: 2235: 2171: 2137: 2128: 2118: 2108:"Shipwreck!" 2063: 2057: 2049: 2033: 2028: 2023:Borias, 2:38 2019: 2009: 2000: 1991: 1986:Borias, 2:19 1982: 1963: 1957: 1948: 1940: 1907: 1891: 1882: 1874: 1870: 1865: 1857: 1852: 1847:, Fall 2001. 1844: 1839: 1820: 1815: 1806: 1772: 1767: 1747: 1740: 1721: 1691: 1687: 1668: 1662: 1646: 1640: 1619: 1601:Neoclassical 1590: 1568:Antoine Étex 1563: 1557: 1552: 1546: 1542: 1537: 1534:Raft Project 1533: 1530:John Connell 1527: 1521: 1516: 1506: 1505: 1500: 1496: 1488: 1486: 1481: 1473: 1457: 1449: 1443: 1439: 1433: 1428: 1424: 1420: 1416: 1410: 1402: 1398: 1395:Albert Elsen 1392: 1385: 1381: 1375: 1373: 1368: 1362: 1358: 1355: 1351: 1344: 1341:abolitionist 1329: 1311: 1296: 1290: 1289: 1284: 1282: 1253:Neoclassical 1244: 1242: 1228: 1220: 1218: 1200: 1184:George Cooke 1181: 1171: 1170: 1128: 1120: 1097: 1094:Karen Wilkin 1086:abolitionist 1074: 1053: 1045: 1018: 1002: 998: 990: 986: 978: 977: 967: 963: 957: 951: 941: 935: 931: 925: 915: 913: 904: 897:Henry Fuseli 891: 880: 875: 869: 864:Getty Center 855: 839: 829: 826: 813: 801: 800:. 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Arnim 7197:Weltschmerz 7156:Medievalism 7105:Blue flower 7033:Nationalist 6978:Bohemianism 6890:Romanticism 6682:Saint Louis 6246:The Beggars 6150:Pardo Venus 5879:Dead Christ 5804:Crucifixion 5641:Ghirlandaio 4920:The Picador 4339:Albani lion 4122:Mesha Stele 4001:Antiquities 3978:Cour Carrée 3953:Lescot Wing 3878:Romanticism 3849:attribution 3807:(1818–1819) 3344:. Chicago: 2718:(1807) and 2619:Eitner, 102 2581:11 February 2555:11 February 2202:Novotny, 85 2153:Wintle, 246 2141:Muther, 224 1871:Louis XVIII 1544:and life." 1337: 1835 1304:slave trade 1210: [ 1027:Auguste Jal 995:Louis XVIII 983:Paris Salon 909:watercolour 901:cannibalism 844:, by Gros. 750:, from the 748:Old Masters 704:ivory black 700:peach black 561:The author 543: [ 369:Description 313:Louis XVIII 274:Saint-Louis 184:Paris Salon 172:cannibalism 9301:Categories 8834:Chassériau 8809:Aivazovsky 8517:Rubinstein 8502:Mussorgsky 8451:Wieniawski 8436:Paderewski 8278:Moszkowski 8061:Vörösmarty 8051:Shevchenko 7905:Longfellow 7829:Batyushkov 7824:Baratynsky 7793:Espronceda 7660:Mickiewicz 7655:Malczewski 7622:Wordsworth 7607:M. Shelley 7562:de Quincey 7427:Günderrode 7311:Baudelaire 7191:Wanderlust 7028:Lake Poets 6107:Tintoretto 6088:Signorelli 5873:Palmezzano 5653:Visitation 5521:Caravaggio 5496:Botticelli 5458:Arcimboldo 4712:Chassériau 4693:The Buffet 4439:Dying Gaul 3578:. London: 3551:New York: 3272:Miles, 249 3147:Elsen, 226 3072:Boime, 141 2936:Miles, 197 2874:Miles, 186 2350:McKee 2007 2230:Miles, 169 2190:Miles, 180 2094:Boime, 142 1574:in Paris. 1560:bas-relief 1143:French art 1139:Piccadilly 1115:Piccadilly 1070:Caravaggio 1011:classicism 821:Classicism 784:marine art 739:Influences 680:raw sienna 676:red ochres 635:, hired a 570:Final work 536:Lithograph 332:Mauritania 270:Senegalese 229:Background 167:Mauritania 143:) – is an 92:Dimensions 9274:Modernism 8934:Kiprensky 8894:Géricault 8879:Friedrich 8869:Delacroix 8844:Constable 8824:Bonington 8814:Bierstadt 8766:Senancour 8741:Schelling 8696:Lamennais 8691:Khomyakov 8656:Coleridge 8651:Chaadayev 8558:Stanković 8553:Mokranjac 8472:Balakirev 8431:Moniuszko 8380:Donizetti 8375:Cherubini 8273:Meyerbeer 8258:Marschner 8233:Beethoven 8146:Moscheles 8080:Musicians 8066:Wergeland 8031:Orbeliani 7986:Grundtvig 7890:Hawthorne 7859:Zhukovsky 7854:Vyazemsky 7839:Lermontov 7798:Gutiérrez 7757:Radičević 7721:Herculano 7645:Krasiński 7587:Radcliffe 7557:Coleridge 7532:E. 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The Raft of the Medusa

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